tag:blogger.com,1999:blog-13517157040593414472024-03-14T03:09:03.893-07:00BALKAN'S ARCANE BINDINGSA Closer Look at Esoteric Books, Grimoires, & Talismanic Texts.Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-1351715704059341447.post-33615126815381612062017-03-08T21:38:00.000-08:002017-03-09T07:02:30.188-08:002016 Esoteric Book of the YearMy apologies for this late year-end review. I have been involved with a number of time consuming pursuits. Between projects and travel I have had little time to write book reviews as frequently as I would like.<br />
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*A note on how books are judged.<br />
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Books are judged by the following criteria: binding, materials, design, talismanic intent & method of consecration (if applicable), artwork/layout, and editorial rigor. Books are chosen from those released and delivered (in full) within the year 2016 (even though they may have a 2015 publication date). This is because books tend to encounter publishing delays. It is especially common in esoteric publishing for a number or reasons (including some of high strangeness). For example, a 2014 book may not actually be available until 2016 in some cases. Books will <u>not</u> be judged by their topic, theme, or content (other than grammar). This may sound strange, but I feel it is unfair and pointless to compare or make value judgments between different magical paths or traditions (like comparing apples to oranges). While I do my best, I am not qualified to judge and assess every magical system the world has to offer; I very much doubt such a person exists. Therefore, books will be judged by their craftsmanship, editorial competence, creativity, talismanic nature, and beauty only.<br />
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In recent years there has been a dramatic increase in the publication of deluxe esoteric books. This is certainly good news to publishers, readers, and collectors; however, it is becoming increasingly difficult to keep up with such high output. Frankly, there is not enough time for any individual to read and evaluate every deluxe esoteric book published in a given year. A few years ago it was possible, but no longer. This is a good "problem" to have. Consequently, some very important and noteworthy books may end up falling through the cracks.<br />
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Furthermore, with the sheer number of titles released annually I have to be more selective by choosing only topics I find personally interesting such as (but not limited to): witchcraft, folk-magic, Hermeticism, demonology, and reprints of historic grimoires. I am less interested in contemporary magical diaries, occult manifestos, and New Age cookbooks. Therefore I apologize in advance to publishers and authors of books I may have overlooked. To help remedy this, and give credit where credit is due, I invite my readers to post titles of deserving books (from 2016) that may have been overlooked in the comments section of this post.<br />
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And now, Balkan's Arcane Bindings' pick for the English language 2016 Esoteric Book of the Year.<br />
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<b>The Golden Talisman Award for 2016 Esoteric Book of the Year goes to....</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfMK_emopgLGbDg-KPh6B1tk8OpLWecabsgTnKJul1APX_SzzeoL-vwXmQ_ziyO6IBNej-W0Vzxo3nhlpP4sv-LViUszExKQuUD34RT_K3HlkXRj8SI4I2ADg5q0wLBjzOBv1rWFxUQIS/s1600/Award+1+Gold+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfMK_emopgLGbDg-KPh6B1tk8OpLWecabsgTnKJul1APX_SzzeoL-vwXmQ_ziyO6IBNej-W0Vzxo3nhlpP4sv-LViUszExKQuUD34RT_K3HlkXRj8SI4I2ADg5q0wLBjzOBv1rWFxUQIS/s400/Award+1+Gold+sm.jpg" /></a><br />
<b>Ifá: A Forest of Mystery </b>by Nicholaj de Mattos Frisvold (Fine Edition). Published by <a href="http://scarletimprint.com/books/ifa-a-forest-of-mystery/" target="_blank">Scarlet Imprin</a>t. Black & white illustrations by Childerico. Octavo. 400 pages. Limited to 64 copies.<br />
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<i>Ifá: A Forest of Mystery</i><b> </b>is Nicholaj de Mattos Frisvold's fourth book of Afro-Caribbean magic published by Scarlet Imprint. It was preceded by <i>Palo Mayombe: The Garden of Blood and Bones</i>, <i>Exu & the Quimbanda of Night and Fire</i>, and <i>Pomba Gira and the Quimbanda of Mbumba Nzila. </i>The book explores the Yoruban Ifá tradition, and in particular, its primary divination practices. Prior to reading this book I had almost <u>zero</u> knowledge of the Ifá tradition, yet Mr. Frisvold made it easy for me to comprehend the basic tenets and cosmology of the system. The author strikes a welcome balance by making the work comprehensible for the novice (like me) and also providing enough depth and mystery to keep the interest of readers already familiar with the system. The dramatic artwork by Childerico (reminiscent of woodcuts, though far more detailed) creates a phantasmal atmosphere filled with primal power and laden with symbolic meaning -- 18 images virtually crackling with energy.<br />
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Like all the rest of the Frisvold/Scarlet Imprint collaborations, the fine edition of, <i>Ifá: A Forest of Mystery </i>is truly something to behold. Its luxurious binding is bound in full hand-grained morocco. The publisher (and probably the tannery) refers to the color as "rust", but I think chestnut would be more accurate. The leather is soft with a smooth tight grain and has a very pleasant scent -- what can only describe as <i>malty</i>.<br />
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This is a hefty book (2 inches thick) with <u>very</u> heavy beveled boards. As far as its construction goes, it is 'built like a tank'. Simply outstanding. I am sure it will outlast everyone reading this review. The cover is breathtaking -- an image of Orúnmila, the god of knowledge, blocked in gold. He holds the sacred palm tree nuts (ikin) used for divination. Custom endpapers from Victoria Hall are marbled with a striking weave pattern in shades of green and red. Quite unusual. The book's edges are gilded as well. There might be more gold in this book than some people's wedding rings. It is finished off with gold head/tail bands and a gold-colored silk ribbon bookmark. A brown suede slipcase is provided for protection. The work concludes with a glossary, bibliography, and index. Scarlet Imprint has shown once again why they are one of the leaders in fine bindings, and not just in esoterica, but among <i>all</i> publishers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-4h4Rcpjcs4_3TBepcs4LtlPr4OPhnFrnOH08bhtI6iMbOoqtvqEgwEileyqNYBQVtIDRngkeHufvCFhNjxYh7LrlZVhQOozS6GE-VfXKIV4aHEWT11daVMbtDmNEHB7eTPs5DPjV9-6/s1600/20170305_133929.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-4h4Rcpjcs4_3TBepcs4LtlPr4OPhnFrnOH08bhtI6iMbOoqtvqEgwEileyqNYBQVtIDRngkeHufvCFhNjxYh7LrlZVhQOozS6GE-VfXKIV4aHEWT11daVMbtDmNEHB7eTPs5DPjV9-6/s400/20170305_133929.jpg" width="262" /></a></div>
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<b>In second place the Silver Talisman Award goes too...</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2CSNPA9krBbNBUEhM-PSufd4PmsoiQxvphhX0bbvkF-B4zdXfkrMdcrU2wLhH2HE7df_cnGE7ZoGC7C_DVuRCmPPtCHbNH1qxuAOLxqCqfTsHdfY25Rr6hr0o4Ng_l66ygH1x-fs8RiP3/s1600/Award+1+silver+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2CSNPA9krBbNBUEhM-PSufd4PmsoiQxvphhX0bbvkF-B4zdXfkrMdcrU2wLhH2HE7df_cnGE7ZoGC7C_DVuRCmPPtCHbNH1qxuAOLxqCqfTsHdfY25Rr6hr0o4Ng_l66ygH1x-fs8RiP3/s400/Award+1+silver+sm.jpg" /></a><b>Azoëtia </b>by Andrew Chumbley (Third Edition - Special Edition). Published by <a href="http://xoanon.co.uk/" target="_blank">Xoanon Limited</a>. Illustrated in black and white by the author. Octavo. 394 pages. Limited to 22 copies.</div>
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<i>Azoëtia</i> was ranked a very close second in my poll for the "Most Important Esoteric Book of the 20th Century"<a href="http://balkansarcanebindings.blogspot.com/2014/07/readers-poll-what-is-most-important.html" target="_blank"> here</a>. It was surpassed (by only 1%, mind you) by Crowley's <i>Magick: Liber ABA (Book Four).</i> <i>Azoëtia</i> is the foundation text of the Sabbatic Witchcraft tradition. A true modern grimoire, it contains a series of formulae, rites, conjurations, and instructions unique to the Sabbatic Witchcraft tradition. The work is illustrated throughout with Mr. Chumbley's own fascinating and complex pen/ink psychography. A glossary is included to familiarize the reader with potentially unfamiliar terms.<br />
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<i>Azoëtia's</i> impact on contemporary witchcraft traditions is considerable, but its influence extends far beyond witchcraft traditions in ways one might not expect. I believe <i>Azoëtia's</i> Second Edition (the "Sethos" Edition) was instrumental in making talismanic publishing what it is today. Prior to its publication, 20th century occult books rarely commanded high prices, with the exception of first edition or signed books by Crowley or A.O. Spare. That all changed with Mr. Chumbley and his publisher, Xoanon. Demand and buzz had been building after the first edition paperback of <i>Azoëtia</i><b> </b>(1992) became scarce. In 2002 it was reprinted as a deluxe hardback. Not only was <i>Azoëtia</i> beautifully bound<b>, </b>but it was also very limited and in high demand. It sold out in a matter of months. Chumbley also created handmade talismans to accompany some of his works. This changed everything. Suddenly books were not simple vessels for magical material, <i>they were themselves magical </i>-- a very old idea reintroduced into the modern market. It was also a rejection of the disposable/paperback culture many of us had grown up with. Books began to look and feel magical again. Now, with the new 3rd Edition, the bar has been raised even higher.<br />
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The Special Edition of <i>Azoëtia </i>is bound in full cream-colored alum-tawed goat (whitened with alum salts). Alum-tawed skins are a time-honored material in bookbinding dating all the way back to the 12th century. I feel this is a perfect choice for binding material for <i>Azoëtia</i>, as the skin is both elegant and rustic -- understated and rugged -- perfectly reflecting the raw and direct nature of the work. The natural irregularities and blemishes of the goatskin echo the unique and variable challenges the reader will encounter within the Sabbatic current. Furthermore, the goatskin has a marvelous texture with a very fine "grip" -- semi-rough when stroked against the grain, like the tongue of a cat.<br />
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The cover is one of Mr. Chumbley's figurative pieces blocked in 22 karat gold. It is a component of an interior image, (Fig. 14 Erotocrasis: The Arch of Drewary O'er the Sigillick Tree of Earthen Albion). The book's title is emblazoned on the spine in matching gold and bordered by four raised bands, each outlined in gold. Head/tail bands, marbled endpapers, and ribbon bookmark are all scarlet red, a striking contrast against the pallid exterior. Opening the book is like opening up a living creature -- a marbled fleshy interior splashed with crimson.<br />
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Each copy of the Special Edition comes with a hand-written talisman, "bearing the sign of one of the twenty-two Sacred Letters of the Azoëtic continuum". For privacy reasons I have digitally removed the letter from the talisman in the photo. Each of the 22 "Holy Letters" found within <i>Azoëtia</i> has a specific energy signature and distinctive correspondences. Of all the 22 letters, the one I received was the most personal and appropriate for me. It was uncanny.<br />
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Later, in a conversation with the publisher, he explained to me that individual letters were specifically chosen for each of the 22 recipients. It impressed me beyond words that a publisher would take such care, time, and consideration to make sure that each copy arrived into the hands for which it was destined. This, ladies and gentlemen, was a truly magical process. It is this sort of personalized attention to detail that sets the small press (and specifically talismanic publishing) apart from mass-market publishers. This is not just a sales process; <i>it is a</i> <i>magical working</i>.<br />
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<b>In third place, the Bronze Talisman Award goes to...</b></div>
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<b>The Devil's Plantation: East Anglian Lore, Witchcraft & Folk-Magic</b><br />
by Nigel Pearson (Fine Edition). Published by <a href="http://www.troybooks.co.uk/the-devils-plantation.html" target="_blank">Troy Books</a>. Illustrated in black & white by Gemma Gary. Black & white photographic plates. Octavo. 272 pages. Limited to 15 copies.<br />
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<i>The Devil's Plantation</i> is a fascinating collection of traditional witchcraft beliefs and lore from East Anglia. Mr. Pearson takes the reader on a journey covering a number of topics specific to the region: spirits of the landscape -- or genius loci (East Anglia's unique psychogeography), encounters with folkloric creatures, historic and notable witches and cunning-folk, flora/fauna/mineral lore, and witchcraft traditions (charms, cures, and curses). A bibliography and index are also included.<br />
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The title is an homage to an infamous "black book" of the same title written by a legendary Cambridgeshire witch, and also refers to cursed parcels of land believed to belong to the Devil, also known as a "Devil's Acre", "Devil's Hopyard", "Devil's Backbone" or "Devil's Den". Places ascribed with devil-names are of great interest to me. Poet J.G. Whittier wrote a poem about unhallowed grounds and accursed acreages titled, "The Devil's Den":<br />
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'Tis said that this cave is an evil place</div>
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The chosen haunt of a fallen race</div>
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That the midnight traveller oft hath seen</div>
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A red flame tremble its jaws between,</div>
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And lighten and quiver the boughs among,</div>
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Like the fiery play of a serpent's tongue;</div>
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That sounds of fear from its chambers swell</div>
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The ghostly gibber, the fiendish yell;</div>
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That bodiless hands at its entrance wave,</div>
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And hence they have named it The Demon's Cave.</div>
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Yet is there something to fancy dear</div>
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In this silent cave and its lingering fear,</div>
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Something which tells of another age,</div>
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Of the wizard's wand, and the Sybil's page,</div>
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Of the fairy ring and the haunted glen,</div>
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And the restless phantoms of murdered men:</div>
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The grandame's tale, and the nurse's song</div>
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The dreams of childhood remembered long;</div>
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And I love even now to list the tale</div>
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Of the Demon's Cave, and its haunted vale."</div>
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<i>The Devil's Plantation</i> is appropriately bound in full black goatskin. The goatskin has a medium grain with a faintly oily texture. Folklore speaks of certain books of <i>maleficia</i> that "sweat", indicating that the spirits bound within are in constant torment. Perhaps this is one. What makes this binding really stand out is an inlaid shield panel in deep blue leather with a blind embossed border. The shield is blocked in silver with a toad skeleton device and three crowns. The spine has five raised bands and a matching blue leather label, also blocked in silver. Head/tail bands and silk bookmark are in a matching shade of blue. Hand-marbled endpapers in grey, teal, and bronze are equally bewitching (pardon the pun), and look like the oily surface of a bubbling cauldron -- an amusing choice. <i>The Devil's Plantation</i> comes housed in a black buckram slipcase blind embossed with a shield device.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVWHXtf9WwTyun-Q6G5kOpzVwfkj5nr5NIxoJywHT81eUChIYH9t0Zq2Pp7RTi_nVWarUStunhrvZ5aq6OgnglQep2BzH6E2FzNVUJ10QI9yOlcP3RVJJIAXWdsOo2R30eaJg9AxWimgEq/s1600/20170305_152250.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVWHXtf9WwTyun-Q6G5kOpzVwfkj5nr5NIxoJywHT81eUChIYH9t0Zq2Pp7RTi_nVWarUStunhrvZ5aq6OgnglQep2BzH6E2FzNVUJ10QI9yOlcP3RVJJIAXWdsOo2R30eaJg9AxWimgEq/s320/20170305_152250.jpg" width="181" /></a></div>
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The book contains fifteen evocative pen/ink illustrations by Gemma Gary in her distinctive stipple-style (this has become a welcome trademark feature of Troy Books' titles), and twenty five black & white photographic plates. As somewhat of a companion book to <i>The Devil's Plantation</i>, Troy Books has recently released a new and revised edition of Nigel Pearson's earlier work, <i><a href="http://www.troybooks.co.uk/treading-the-mill.html" target="_blank">Treading the Mill: Workings in Traditional Witchcraft</a></i>. Mr. Pearson's work is a tremendous contribution to the study of British folk magic.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO07k7ni07k4jNSEv1tvnVaNsO3c6yJotXbOvjt6F5XrNd2JXVRTpr-vHgEYIhwBwFv_w2Bq7UnOBb1pEgsVfYCwOMn_l-GNGZT7pE6NnNGB85suZRS8RyfR5_pTeqjNn0ByK1RiZFLVZR/s1600/20170305_135341.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO07k7ni07k4jNSEv1tvnVaNsO3c6yJotXbOvjt6F5XrNd2JXVRTpr-vHgEYIhwBwFv_w2Bq7UnOBb1pEgsVfYCwOMn_l-GNGZT7pE6NnNGB85suZRS8RyfR5_pTeqjNn0ByK1RiZFLVZR/s320/20170305_135341.jpg" width="254" /></a></div>
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<b><u>2016 Honorable Mentions</u></b><br />
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<li><b><b>The Triangular Book of St. Germain </b><span style="font-weight: normal;">deciphered and translated by Nick Koss (Special Edition). Published by </span><a href="http://ouroboros-press.bookarts.org/portfolio/triangular-book-of-st-germain/" style="font-weight: normal;" target="_blank">Ouroboros Press</a><span style="font-weight: normal;">.</span><span style="font-weight: normal;"> </span><span style="font-weight: normal;">Printed in full color. English and French text. Small triangular format (6 1/2" x 6"). 48 pages. Comes with a sterling silver talisman and marbled slipcase. Limited to 26 copies. </span></b></li>
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<li><b>Þursakyngi - Loki</b> by Ekortu. (Deluxe Edition), published by IXAXAAR. Bound directly to goat leather creating a unique protective envelope with tied leather closures. Comes with a birch bark talisman created by the author. 270 pages. Octavo. Limited to 49 copies.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-JyTFBKG2QWNZKvUN5WAQqm0W7D9GT-Sz7z_Zvgw1bl9eOwBYs3m4MlOEvj2npv1Xk_iG8aV4N7h6AAuxtURACjd2iRbx5aGOheBIgkLDWzOvOwn-XapcBpK96Gmhyxz8OVxGAZpLmW_/s1600/20170305_150542.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-JyTFBKG2QWNZKvUN5WAQqm0W7D9GT-Sz7z_Zvgw1bl9eOwBYs3m4MlOEvj2npv1Xk_iG8aV4N7h6AAuxtURACjd2iRbx5aGOheBIgkLDWzOvOwn-XapcBpK96Gmhyxz8OVxGAZpLmW_/s320/20170305_150542.jpg" width="228" /></a></div>
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<li><b>The British Book of Spells and Charms</b> by Graham King (Fine Edition). Published by Troy Books. 296 pages. Blind embossed buckram slipcase. Duodecimo. Limited to 20 copies. </li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhceqxD7tQnClienMhW7E58cH8tlm8lKUoWMy31kpKqyIbO1lYwr_2svNbYS12d3Q6XRmJlb07awIdIOKOTDQzO8n-acwfOkFB1lDdpe53MSksvF6U3EV_YBBtnsfZQizHUxOQ7Dj6nPkW/s1600/20170305_150302.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhceqxD7tQnClienMhW7E58cH8tlm8lKUoWMy31kpKqyIbO1lYwr_2svNbYS12d3Q6XRmJlb07awIdIOKOTDQzO8n-acwfOkFB1lDdpe53MSksvF6U3EV_YBBtnsfZQizHUxOQ7Dj6nPkW/s320/20170305_150302.jpg" width="246" /></a></div>
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<li><b>Claves Regni</b> by Nikolai Saunders. Published by <a href="http://fallofman.eu/" target="_blank">Fall of Man</a>. 542 pages. Octavo. Bound in Italian green moire silk and gold gilt. Faux-crocodile skin slipcase. Limited to 96 copies.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOIFYnlh19KeOUzMxvog9sfbjpdwSIVEE_edDK3blNHOMiGlvmD6btxZ_OqqMSv0BO2fol1WHzzhU8dSyHGf4goY25rO62kPsb_rDKz4OlIu98hpPNb76oPFot-K0yDkBcJm7FgeZ3PD0/s1600/20170305_150423.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOIFYnlh19KeOUzMxvog9sfbjpdwSIVEE_edDK3blNHOMiGlvmD6btxZ_OqqMSv0BO2fol1WHzzhU8dSyHGf4goY25rO62kPsb_rDKz4OlIu98hpPNb76oPFot-K0yDkBcJm7FgeZ3PD0/s320/20170305_150423.jpg" width="320" /></a></div>
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<b>Moving into 2017:</b><br />
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My hope is to get back to writing semi-regular book reviews, that is, if life will ever calm down enough to permit it. I am also considering including a occasional interviews with authors and publishers to mix things up a bit. </div>
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Have a great year, dear readers.<br />
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Sincerely,<br />
B. Balkan<br />
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<b>Read about past years' winners:</b></div>
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<li><a href="http://balkansarcanebindings.blogspot.com/2016/01/2015-esoteric-book-of-year.html" target="_blank">2015</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2015_01_01_archive.html" target="_blank">2014</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2014/01/winner-2013-esoteric-book-of-year.html" target="_blank">2013</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2013/01/winner-2012-esoteric-book-of-year.html" target="_blank">2012</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2012/01/winner-2011-esoteric-book-of-year.html" target="_blank">2111</a></li>
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com4tag:blogger.com,1999:blog-1351715704059341447.post-9110962064300348322016-01-28T22:19:00.001-08:002016-02-06T08:24:24.978-08:002015 Esoteric Book of the Year*First, a note on how books are judged.<br />
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Books are judged by the following criteria: binding, materials, design, talismanic intent & method of consecration (if applicable), artwork/layout, and editorial rigor. Books are chosen from those released and delivered (in full) within the year 2015 (even though they may have a 2014 publication date). This is because books tend to encounter publishing delays. It is especially common in esoteric publishing for a number or reasons (including some of high strangeness). For example, a 2014 book may not actually be available until 2015 in some cases. Books will <u>not</u> be judged by their topic, theme, or content (other than grammar). This may sound strange, but I feel it is unfair and pointless to compare or make value judgments between different magical paths or traditions (like comparing apples to oranges). While I do my best, I am not qualified to judge and assess every magical system the world has to offer; I very much doubt such a person exists. Therefore, books will be judged by their craftsmanship, editorial competence, creativity, talismanic nature, and beauty only.<br />
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In recent years there has been a dramatic increase in the publication of deluxe esoteric books. This is certainly good news to publishers, readers, and collectors; however, it is becoming increasingly difficult to keep up with such voluminous output. Frankly, there is not enough time for any individual to read and evaluate every deluxe esoteric book published in a given year. A few years ago it was possible, but no longer. This is a good "problem" to have, though some very important and noteworthy books may end up falling through the cracks as a consequence.<br />
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Furthermore, with the sheer number of titles released annually I have to be more selective by choosing only topics I find personally interesting such as (but not limited to): witchcraft, folk-magic, Hermeticism, demonology, and reprints of historic grimoires. I am less interested in contemporary magical diaries, occult manifestos, and New Age cookbooks. Therefore I apologize in advance to publishers and authors of books I may have overlooked. To help remedy this, and give credit where credit is due, I invite my readers to post titles of deserving books (from 2015) that may have been overlooked in the comments section of this post.<br />
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And now, Balkan's Arcane Bindings' pick for the English language 2015 Esoteric Book of the Year.<br />
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<b>The Golden Talisman Award for 2015 Esoteric Book of the Year goes to....</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfMK_emopgLGbDg-KPh6B1tk8OpLWecabsgTnKJul1APX_SzzeoL-vwXmQ_ziyO6IBNej-W0Vzxo3nhlpP4sv-LViUszExKQuUD34RT_K3HlkXRj8SI4I2ADg5q0wLBjzOBv1rWFxUQIS/s1600/Award+1+Gold+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfMK_emopgLGbDg-KPh6B1tk8OpLWecabsgTnKJul1APX_SzzeoL-vwXmQ_ziyO6IBNej-W0Vzxo3nhlpP4sv-LViUszExKQuUD34RT_K3HlkXRj8SI4I2ADg5q0wLBjzOBv1rWFxUQIS/s400/Award+1+Gold+sm.jpg" /></a><a href="http://www.caduceusbooks.com/publications.htm" target="_blank">The Society of Esoteric Endeavour's</a> <b>Book of Magic </b>by Anon (Herbert Irwin). Three item set: Facsimile of Manuscript (octavo, 416 pages), Transcript (octavo, 408 pages), and Talisman Folder (octavo, inset with eight vellum talismans).</div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRIme_tgKvI3gprXJx8zN9waZj9bVGe0U2K1yLt85BJ_nryRc4fo9mMiGRI2SP-LmZsGmoU7-NPo6YUPLq8qhDcFhxijpWGF5T57CeUEl7pm96zkxhPjN6rclim7FZ1ZJPZN6Sjk3Ourqs/s1600/20160124_133035.jpg" imageanchor="1"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRIme_tgKvI3gprXJx8zN9waZj9bVGe0U2K1yLt85BJ_nryRc4fo9mMiGRI2SP-LmZsGmoU7-NPo6YUPLq8qhDcFhxijpWGF5T57CeUEl7pm96zkxhPjN6rclim7FZ1ZJPZN6Sjk3Ourqs/s400/20160124_133035.jpg" width="400" /></a></b></div>
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There are plenty of books o the market about magic, but very few are <i>magical</i>; that is, not just <i>about </i>magic, <i>they are magic</i>. The latter may result from a number of methods: consecration, binding materials with symbolic meaning or magical correspondences, intense personal connection, spirit binding (the book becomes a home to a spirit), making the book actually do something -- essentially turning it into magical device, or through a most repugnant method: sacrifice (destroying the book) *shudder*. </div>
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Readers may scoff at the "personal connection" method, as everyone has a favorite book, or twenty, correct? What I mean by personal connection is a book that has an <u>extremely</u> deep connection. The kind of book one would run into a burning building to rescue; one that has made a profound impact on one's life and possibly even influenced the chapters of one's own life. I'll give you an example: This may not come as a surprise, but the first purchase I ever made as a child with my own money was a book. I was 6 years old. I had saved up pennies for quite some time doing odd chores for my parents (as much as a boy that age can do). The book I wanted was a children's book about monsters. Eventually I had saved enough to buy it. I have vivid memories of different monsters leaping off the page and (at least in the mind's eye of a small boy) becoming very real. That book was my <i>Lesser Key of Solomon, </i>a six-year-old's Goetia.<i> </i>I still have it. It is <i>still</i> one of my most magical books, and I still work with the monsters of the book. We've become old friends and have served each other well.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XRsiUm8IQa1RXfznDJEOdNlxA-pa0ar7k5gNDngh30t30d2FSJL3zpfa4CUVe0_dHs3IrPCLmlb0WYrLpZkPE7P3Iz5IUuJuXRGXSpXFBqc6Ck6VOgHX190FEcqbhYemrXBMXTVK5-kZ/s1600/20160124_133257.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XRsiUm8IQa1RXfznDJEOdNlxA-pa0ar7k5gNDngh30t30d2FSJL3zpfa4CUVe0_dHs3IrPCLmlb0WYrLpZkPE7P3Iz5IUuJuXRGXSpXFBqc6Ck6VOgHX190FEcqbhYemrXBMXTVK5-kZ/s320/20160124_133257.jpg" width="180" /></a></div>
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<i>Book of Magic</i> falls into to the "magical device" category. The original manuscript (from 1874) is an instruction manual about how to make a magical book, hence the title <i>Book <u>of</u> Magic </i>and<i> </i>not <i>Book <u>About </u>Magic</i>. Now, after over 140 years, the book has finally migrated from the astral and has physically manifest. The book is essentially a tool for <i>doing</i> magic, not just reading about it.<br />
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The set contains a number of magical devices. First, inside the cover is a diagram of an eye within concentric circles illustrating "The Harmony of the Universe". This can be used as a meditative tool to focus one's mind before an operation. It gets better: the eye is formed from a small piece of the original manuscript. This creates a magical link to the original text following the principles of Sympathetic Magic; specifically, the Law of Contact or Contagion which states that things that were once in contact continue to be connected after the connection is severed. Today scientists call this phenomena Quantum Non-locality, what Albert Einstein called “spooky actions at a distance”. Second, the hardback folder contains a set of 8 vellum talismans blocked in gold, created exactly as outlined in the text. These have a variety of uses. Third, (and this is perhaps the most astonishing feature) inset into the back cover of the book is a black convex scrying glass used for divination or spirit communication. Ben Fernee, the mastermind behind The Society for Esoteric Endeavour, elaborates by stating: </div>
<blockquote class="tr_bq">
Furthermore, with the eye in the motif set in the front cover being on paper from the original manuscript, it provides a magical link that is the basis for the magic mirror set in the rear board to act as the window by which the practitioner may access the same mind spaces that Herbert viewed to create the original manuscript.</blockquote>
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The eye is set into the front cover directly opposite the rear mirror. So when the book is closed the eye is continuously gazing through the text block and into the darkness of the rear mirror, creating a magical circuit, if you will. So not only does the mirror provide an aperture to different states of mind, but also a window <i>through time</i> and into the head-space of the book's creator. Depending on the reader's beliefs, the eye -- ever watchful -- may also serve as a ward to make sure the mirror does not become an unintentional gateway when not in use, the Watcher at the Threshold.<br />
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For the most part, the content of<i> Book of Magic </i>is a collection of ceremonial magic techniques and Hermetic arts used later in the Golden Dawn tradition. There are also a few folk-magic inclusions like the magical use of a dozen drugs and herbs and how to make a dowsing rod. Interestingly, there is also a section on non-Euclidean geometry -- shades of H. P. Lovecraft's "impossible angles". It was the author's valiant attempt to graphically describe higher dimensions, with limited success. Occult architect Claude Bragdon did a much better job (visually) 56 years later in his book <i>Four Dimensional Vistas </i>(1930)<i> </i>and <i>The Frozen Fountain</i> (1932) through illustrations of hypercubes or tesseracts.</div>
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As previously stated, the set comes in 3 parts: book, transcript, and talisman folder. All are contained within a slipcase. The book is handsomely bound in full brown calf with gilt title and border. Edges are hand-gilded. Interior boards are inset with black silk doublure with scalloped corners. Endpapers are decorated with a black and red fylfot cross tessellation (the fylfot is also discussed in the text).<br />
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The text block is an exact full-color facsimile of the original manuscript (obviously penned by hand) which may present a challenge for modern readers. A second volume, a typed transcript, is provided for clarity. It is cloth-bound in a matching brown hue. The third item is the talisman folder, also bound in cloth. Inside are eight vellum talismans blocked in gold.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMxgyL5ehrgnZ-WL-Ipq2kAbN-uu_dPvCU6Whk_hNAgzuY2q4S3MTPlduN2QUDlJju70EWgCMkBqHM-8cYQLKlcPWPQzGjsHhcGd2fZxy1mHAS7OEQjp3dgjyVLA7gcpoy9754j6YW-B6X/s1600/20160124_133721.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMxgyL5ehrgnZ-WL-Ipq2kAbN-uu_dPvCU6Whk_hNAgzuY2q4S3MTPlduN2QUDlJju70EWgCMkBqHM-8cYQLKlcPWPQzGjsHhcGd2fZxy1mHAS7OEQjp3dgjyVLA7gcpoy9754j6YW-B6X/s400/20160124_133721.jpg" width="400" /></a></div>
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This book was offered for pre-order for one week. At the end of the week the number sold would be the total number produced for this edition. The final number was 196 copies. This is my preferred method of selling. It allows interested parties a reasonable chance to obtain a copy and avoids the mad dash and inevitable disappointment for those who are unable to get a copy due to slow emails, distant time zones, or because they couldn't immediately get financing in order.<br />
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<i>Book of Magic</i> is yet another stunning release from The Society of Esoteric Endeavour. It is a talismanic book par excellence. <br />
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<b>In second place the Silver Talisman Award goes too...</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2CSNPA9krBbNBUEhM-PSufd4PmsoiQxvphhX0bbvkF-B4zdXfkrMdcrU2wLhH2HE7df_cnGE7ZoGC7C_DVuRCmPPtCHbNH1qxuAOLxqCqfTsHdfY25Rr6hr0o4Ng_l66ygH1x-fs8RiP3/s1600/Award+1+silver+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2CSNPA9krBbNBUEhM-PSufd4PmsoiQxvphhX0bbvkF-B4zdXfkrMdcrU2wLhH2HE7df_cnGE7ZoGC7C_DVuRCmPPtCHbNH1qxuAOLxqCqfTsHdfY25Rr6hr0o4Ng_l66ygH1x-fs8RiP3/s400/Award+1+silver+sm.jpg" /></a><a href="http://www.primalcraft.com/" target="_blank">Primal Craft's</a> <b>The Witchblood Grail </b>by Mark Alan Smith (Devil's Crown Edition). Illustrated in black and white by Lorein. Octavo. 394 pages.</div>
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The second volume in the <i>Way of Sacrifice</i> Trilogy (preceded by <i>The Altar of Sacrifice</i>), the <i>Witchblood Grail</i> is, in a word, magnificent. The book is revealed in four parts:<br />
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<li>Book One -- The First Inner Book of the Flesh: The Book of the Initiated Blood</li>
<li>Book Two -- The Book of Forbidden Flesh</li>
<li>Book Three -- The Book of Malefic Blood</li>
<li>Book Four -- The Book of the Devil's Throne</li>
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One of the more interesting parts is found in Book One, a chapter tilted, "Toadstone Familiars", detailing the creation and consecration of the toadstone. It is a peculiar adjunct to toadbone ritual.</div>
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Like Mr. Smith's previous works, <i>The Witchblood Grail</i> contains full-page black and white illustrations (six of them) by an artist known only as "Lorien" along with countless sigils, seals, and other symbols used in magical operations.</div>
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The book continues a familiar pattern of Mr. Smith's other works with heavy focus on poetic incantations and affirmations. His works are devotionals rather than straight forward instruction manuals, which may not be everyone's cup of tea. But do not worry -- there is no groveling or mindless supplication involved; the chants and orations are meant to empower the practitioner. Sometimes verbalizing one's intent aloud can be just the key one needs to unlock doors. Our screen-filled world has become so visually dominated that it is easy to overlook or forget the auditory components of magical practice.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU7xDJJ6rvveA4QlmiOxCHh-9FnZrZShoZIUrW4o2k6-JUXmrrqqxZSk_7NV9i4Ucg8V8vQndS9wckHMHjcKx2sgaVP_B2HK82vyQ0m5i352pdzsB2pLK3-KUOmoSO_nUDEjjUOSOh5Lrb/s1600/20160124_134938.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU7xDJJ6rvveA4QlmiOxCHh-9FnZrZShoZIUrW4o2k6-JUXmrrqqxZSk_7NV9i4Ucg8V8vQndS9wckHMHjcKx2sgaVP_B2HK82vyQ0m5i352pdzsB2pLK3-KUOmoSO_nUDEjjUOSOh5Lrb/s320/20160124_134938.jpg" width="180" /></a>Like its preceding volume, <i>The Witchblood Grail</i> is fully bound python skin with five raised bands on the spine. This time it is black and white python instead of solid black. It has a mesmerizing quality about it and is a pleasure to hold. One could say the natural zig-zag pattern of the python skin reflects the "crooked path" taken by many practitioners, a path winding hither and thither like the snakes of the caduceus wand.</div>
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The cover is embossed with "The Devil's Crown and The Eye of The Dragon" in 24 carat gold. The symbol doesn't "pop" as much as the cover of the previous volume due to varied coloration of the snakeskin binding, but it does stand out sufficiently enough when light catches it, giving the impression of almost floating above the snakeskin. Black endpapers are embossed as well. To protect the book the publisher includes a black solander box lined with emerald green suede. The front of the box is embossed with "The Seal of The Dragon God".</div>
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The Devil's Crown Edition is signed and sigilized in ink mixed with the author's own blood and limited to 36 copies. It is also available in a high-quality standard edition (Dragon Flame Edition) is limited to 999 copies and is still available <a href="http://www.primalcraft.com/" target="_blank">here</a>. The Standard Edition is bound in a Red Lynnel Thermo Ibis, a luxurious suede-like material. Primal Craft's Standard Edition is what most publishers would consider "deluxe" (see image below).<br />
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One wonders if they will continue the snake-skin theme with the next volume in the series, and if so, what form that will take. Perhaps a series progression from dark to light culminating with solid white python and symbolic of the purification process? Primal Craft's fine editions are truly extraordinary objects of sinister beauty.</div>
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<b>In third place, the Bronze Talisman Award goes to...</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_Qm9XlyWXRlS0ZqR6neU8801u7WRXG6lPyvA36WgaspWbZPCp6LKg_MhCu6IQiEogIN9Zy16neG8ck8hoSG_bv1HFUYUAJl_tkbwRcBaD5ugTMnut5cQ7DhOhrIoN0Vr98w3RQQaFVUn/s1600/Award+1+bronze+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_Qm9XlyWXRlS0ZqR6neU8801u7WRXG6lPyvA36WgaspWbZPCp6LKg_MhCu6IQiEogIN9Zy16neG8ck8hoSG_bv1HFUYUAJl_tkbwRcBaD5ugTMnut5cQ7DhOhrIoN0Vr98w3RQQaFVUn/s400/Award+1+bronze+sm.jpg" /></a><i style="font-weight: bold;">The Devil's Dozen: Thirteen Craft Rites of the Old one </i>by Gemma Gary (Fine Edition), published by Troy Books. Illustrated in black & white by the author; photos by Jane Cox. Duodecimo (Twelvemo). 160 pages.</div>
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<i>The Devil's Dozen</i> is an fascinating attempt to create a modern "black book". The book is clearly modeled after 18th and 19th century folk-magic grimoires and includes thirteen original rites inspired by traditional (British) witchcraft rituals. Though the rites are contemporary they still have a wild and primal character in the spirit of early folk traditions. The author states,<br />
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"They are my own creations all; given in hope that they may provide usefulness or inspiration, and each a personal offering of devotion unto the starlit and smoking altar of the Old One."</blockquote>
One of my favorite examples is a rite titled, "A Rite of Turning" designed to summon hell hounds and send them after someone who harbors ill-will towards the practitioner, or perhaps just for sport -- this is a black book after all. Additionally, the rites generally require simple materials that are not too exotic or costly. One suggestion is using a simple large flat stone for an altar.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgegB9dqW0uRQveE1uQmojZRohBlebAxXUWJipIQkIR0XNV2u7slUON3DzqTnyYt2d2WGeGUwTPdWivDtXo1SYtG3ww9DFIwaGZdNmpZpG_Mn9HBGMVsmI17_WIJw7-1kxMLbeD1ZPlvLFl/s1600/20160124_135543.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgegB9dqW0uRQveE1uQmojZRohBlebAxXUWJipIQkIR0XNV2u7slUON3DzqTnyYt2d2WGeGUwTPdWivDtXo1SYtG3ww9DFIwaGZdNmpZpG_Mn9HBGMVsmI17_WIJw7-1kxMLbeD1ZPlvLFl/s320/20160124_135543.jpg" style="cursor: move;" width="180" /></a>The book contains a handful of full-page, glossy, black & white photos (taken by Jane Cox) of practitioners performing rites described in the book. It also contains a number of spectacular full page black & white illustrations (untitled) by the author. Inclusion of a title page for the illustrations would have been a nice addition. One of my favorites is one found before the chapter, "The Light Betwixt" depicting a sabbatic goat standing in a thicket with a lit candle between its horns.<br />
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Rarely have I encountered a more delightfully diabolical-looking book than the Fine Edition of <i>The Devil's Dozen </i>(limited to 13 copies) The binder rides the fine line between tastefully dramatic and garishly over-the-top... <i>and wins</i>, creating something stylish, unique, and a thing of nightmares (in a good way). The book bound in full black goat with a gilt boarder (the leather has a faint scent of peat). The spine has 4 raised bands and is gilt-stamped with the title, author, and a golden stang. Heavy beveled boards give the book a little heft. At only 5 x 8 inches it is a nice portable size for carrying down to the crossroads. But it is the cover that is most memorable. The cover is blind embossed with a pentacle resting on a bed of thickets. Peering out from within the pentacle is a glass goat's eye cabochon. It is an unsettling addition that makes the book truly unique. I swear that if one stares at it long enough it will blink. A trick of the mind surely, but an interesting effect nonetheless.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizvV-_GVL7hR1c1AdRAY2v635JlaTPcp2gssfxQBPkObh58EwUEaQVh6LRDO7E3gtKyC0AAeRSHPFvq8iS2EVxxt0b_-p3FHUjWbEOPqAeljFA29uKPfhwoG7n8V-zBBHsvWq-mTM4Ktvg/s1600/20160124_135223.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizvV-_GVL7hR1c1AdRAY2v635JlaTPcp2gssfxQBPkObh58EwUEaQVh6LRDO7E3gtKyC0AAeRSHPFvq8iS2EVxxt0b_-p3FHUjWbEOPqAeljFA29uKPfhwoG7n8V-zBBHsvWq-mTM4Ktvg/s320/20160124_135223.jpg" width="180" /></a>The book is protected by a full goat leather solander box lined with black silk. The cover is embossed with a stylized Goat of Mendes with horns ending in twelve lit candles, a blazing six-rayed star between the horns, and the alchemical symbol for phosphorus upon its forehead. The box's spine repeats the six-rayed star pattern.<br />
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This is one of the most delightfully unusual books I have seen in a long time. The Fine Edition sold out long ago, but the paperback and an attractive standard hardcover are still available <a href="http://www.troybooks.co.uk/the-devils-dozen.html" target="_blank">here</a>.</div>
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*Note -- Some readers may notice the absence of the Special Edition of <i>The Triangular Book of St. Germain</i>, a spectacular recent release from Ouroboros Press. My copy was received during the second week of 2016. Therefore it will be a likely contender for the 2016 Esoteric Book of the year. As much as I'd like to include it in this year's review, I have to draw the cut-off point somewhere. It will be something to look forward to in the coming year.<br />
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<b><u>2015 Honorable Mentions</u></b></div>
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<li><b><i>Lucifer: Princeps</i> </b>by Peter Grey (Dawn Breaker Edition), published by Scarlet Imprint. The layout and design of this book is absolutely incredible. Scarlet Imprint continues to amaze with their consistently elegant designs. The Dawn Breaker Edition effectively uses simple ornament and color that is symbolically appropriate for the topic. This was a <u>very</u> close contender for third place and the Bronze Talisman Award -- a tough decision. A truly luminous work.</li>
<li><b><i>Witchcraft and Sorcery of the Balkans</i></b> by Radomir Ristic (Special Edition), published by Three Hands Press. Bound in embossed boar skin. A great resource for anyone looking to study a witchcraft tradition outside the British Isles. Slim but filled with solid information. </li>
<li><b><i>The Green Book</i></b> by Heliophilus (Fine Edition), published by Scarlet Imprint. A fascinating book on plant alchemy (spagyrics). It is worth buying for the incredible full-color photography alone.</li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><i><b>ÞURSAKYNGI - Volume I - The Essence of Thursian Sorcery</b></i> by EKORTU (Leather-bound Talisman Edition), published by IXAXAAR. Bound directly to goat leather creating a unique protective envelope with tied leather closures. Includes a horn talisman hand-carved by the author.</li>
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Have a wonderful year, dear readers.</div>
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<br />
B. Balkan</div>
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Read about past years' winners:<br />
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<li><a href="http://balkansarcanebindings.blogspot.com/2015_01_01_archive.html" target="_blank">2014</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2014/01/winner-2013-esoteric-book-of-year.html" target="_blank">2013</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2013/01/winner-2012-esoteric-book-of-year.html" target="_blank">2012</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2012/01/winner-2011-esoteric-book-of-year.html" target="_blank">2111</a></li>
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com4tag:blogger.com,1999:blog-1351715704059341447.post-4832185936597756102015-09-05T17:10:00.000-07:002015-09-06T13:25:21.397-07:00Magic and Eugenics <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbcEw7V9L3qdzmI_v1iXyDnxD24IDWRDVs-Y5VnDvkd25Sz0xtGouvwPDnSAXj21DABoo3rwZ5Tv3RzHs4FWObdPwNlofGOmYrhbrsjSRmtQpaDuGmSv8OuCFnUQPvjH-ncM7jsdW_aFkM/s1600/fludd_occult_mind.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbcEw7V9L3qdzmI_v1iXyDnxD24IDWRDVs-Y5VnDvkd25Sz0xtGouvwPDnSAXj21DABoo3rwZ5Tv3RzHs4FWObdPwNlofGOmYrhbrsjSRmtQpaDuGmSv8OuCFnUQPvjH-ncM7jsdW_aFkM/s640/fludd_occult_mind.jpg" width="347" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Fludd's depiction of the mind</td></tr>
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Dear Readers,<br />
<br />
Thank you once again for your continued patience during my extended sabbatical. It has been far longer than I had originally intended, but life is always full of surprises. Though this blog has been quiet lately, things have been very productive on my end. My sabbatical is coming to an end, but before I begin my next book review I wanted to bring up something I have been thinking about for a while; something I've noticed in the magical community and also within pop-culture, that is, the concept of genetic magical aptitude.<br />
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In recent years I have noticed a common theme whenever magic or the occult appears in pop-culture. In the past it was usually demonized and portrayed as as a dangerous contagion one caught by reading the wrong books or associating with unsavory characters. Today it is glamorized (and highly fictionalized) to the point of looking more like comic book super-powers. What was once a skill attained through rigorous study, internal exploration, and personal sacrifice is now often portrayed as something people are simply born with (or not), like a mutant power, and full of various pyrotechnics. Magic is too often the sole domain of "chosen ones" or charmed family lineages. Is this a reflection of the increasing gulf between the "have" and "have nots" in our society? Are we too focused on physical/racial differences? Could this be a metaphor for rising inequality in the West? Or is this an indicator of society's willingness or desire to experiment with bio-engineering and trans-humanism?<br />
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In pop-culture it seems that magical powers often come about as a result of a "magical puberty", that is, magical abilities that spontaneously appear during the teen years. Regrettably such experiences are usually lacking any initiatic circumstance, rite of passage, or personal sacrifice; powers simply appear like strange hair-growth -- a birthright, nothing more.<br />
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In other cases characters are given supernatural status to explain their gifts: vampires, werewolves, the demon-possessed, etc. But again, it keeps going back to a racial perspective. Only those of a special breed or supernatural predisposition can perform magic, leaving it out of reach for everyone else. Allow me to give you a few quick popular examples:<br />
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<u>Harry Potter</u> -- While it is an obviously fictionalized world of witches and wizards, its influence on actual magical communities cannot be ignored. I have often heard various Harry Potter terms and concepts (Potterisms) adopted by so-called serious magical groups. It sounds ridiculous, but popular culture is a powerful medium, perhaps even one of the <i>most</i> powerful. The Harry Potter stories are certainly charming and entertaining, but unfortunately J.K. Rowling's world is one where people are either born witches or they are not. It does not matter how smart or clever one is; you either have it or you don't. Witches and wizards are basically a super-race that lives outside the normal confines of the mundane world. Regular people, "muggles", are physically unable to engage in magic and relegated to a lower class. Now, her stories may emphasize the inequalities and evils of caste systems, but it still offers little hope to those on the lower rungs of society.<br />
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<u>The Dresden Files</u> - The series' main protagonist, Harry Dresden, is a wizard who uses his powers to solve various murders and mysteries. The popular novels are fun detective-noir stories set in a world where magic is a reality, but only to a select few. Unfortunately, here again we have a magical caste system. Harry's father was a lowly stage magician, but his "real" magical powers come to him via his maternal line. In the novels Harry increases his magical aptitude through study and experience, but he still gets his basic abilities through his special genetic inheritance. Again the message: <i>You don't have to work for it, it's handed to you at birth.</i><br />
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Television shows like: <u>Salem</u>, <u>Sleepy Hollow</u>, <u>Game of Thrones</u> (including the books), <u>Grimm</u>, <u>Supernatural</u>, <u>Penny Dreadful</u>, and <u>American Horror Story</u> (Season Four - Coven) all portray witches and other magic practitioners as being born with their powers and as a separate class/race of humanity. Not born a witch? Don't bother -- <i>you aren't one of the chosen.</i><br />
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Still, it is not <i>all</i> bad. There are a small minority of current occult/magic fiction writers that are extremely creative, knowledgeable, and write from experience. In my opinion, top among these would be Richard Gavin, Patrick Rothfuss, Reggie Oliver, and Ron Weighell. In most of their stories magic is accessible by all, for better or worse.<br />
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So it begs the question, could all this be intentional? Is it too dangerous in our culture to imply that "regular folk" could just pick up a book, and given enough study, actually become magically adept? That was the fear during the "Satanic Panic" of the late 1980s. It was believed that young people were putting their souls at risk by reading "dark books" or by listening to heavy metal. Perhaps many of today's writers are simply are not very creative, preferring to simply follow current trends. Or perhaps our increasingly restrictive society does not want to empower people <i>too</i> much by making them aware of their true potential. Instead, magical power is held out of reach and reserved for an imaginary genetic elite, or is portrayed as something so fanciful that most would not even entertain the idea that it could be real. The reality is that is magic is everyone's birthright, given a little study.<br />
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This unfortunate theme appears again and again throughout pop-culture, especially Young-Adult fiction. It is so ubiquitous that it generally goes unnoticed. If the theme remained within fiction and entertainment it would be a non-issue, just another literary trope, but art is a powerful force that can affect our society for tremendous good or ill. Ironically, it could also be a sign of growing disenchantment in the world. People want to see magic in the world, but most think it is impossible, never realizing that magical ability is within all of us. They see magic, if possible, as an evolutionary game of chance; you either have it or you don't, determined like some kind of magical phrenology. Nothing could be further from the truth.<br />
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What is perhaps more disturbing is the built-in common plot device of pre-destination. What are we saying about personal choice in the world (or lack thereof)? Characters are stuck with their abilities much like they are stuck with their eye-color. They are born a witch/wizard thus removing the element of choice, personal will/desire, and ambition. It misses the whole point of what magic is really about. Magic is about willfully causing change in the world or within oneself (though one could argue there is no difference between the two). Someone born a witch/wizard is robbed of that crucial choice. Magic becomes a natural involuntary action to them, like breathing -- its already in their DNA -- there is no choice, no directed will.<br />
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I feel this a very negative message and very dis-empowering, promoting notions of genetic superiority (or inferiority). Additionally, powers are often phrased as "gifts", implying that powers are typically dropped in one's lap rather than being hard-won though intense study and one's own achievement. In so doing it cheapens the skill. Why work hard or seek something greater when it all comes down to genetics and choice breeding?<br />
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While this sentiment appears most often in entertainment, recently I have noticed it more among magical communities. Misunderstood notions of having "witch-blood" is concerning. I have come across this and similar concepts in countless conversations and online posts. This term is generally used to refer to a spiritual connection between people, <i>not</i> a literal blood-line or genetic link. Again, just as with religion, it is the literalists who create most of the problems. Of course there is something to be said about natural ability; someone who stands 5' 4" will have a tougher time making it into professional basketball than someone 6' 7" tall, but it is not impossible. Some things are naturally harder for some than others -- we all have our strengths and weaknesses -- but rarely does it disqualify people altogether. One need only look at the amazing physical feats disabled people have achieved in recent years to see that limitations are usually only in one's mind.<br />
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Recently I met with a group of people involved in the Spiritualist movement. Most were very advanced trance-mediums. A few of them had startlingly impressive psychic abilities. They knew specific details about me that would be impossible for them to know (and yes, I know how cold-reading works. This was not it). While we may disagree on the mechanics behind how it all works or where the information is coming from, the phenomena remains very real.<br />
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I joined them for a seance and later for a table-tipping session. What I found most intriguing was their healthy perspective towards their abilities. Most striking was their humble attitude -- a rare trait in magical circles of any tradition. All present felt that there was nothing special about them; they were just like everyone else. Furthermore, there was no talk or boasting of magical lineages or who was trained or initiated by who. All their abilities came through training and hard work. They all believed that anyone could do what they did given enough training. patience, and time. I believe them.<br />
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However, in my experience this seems to be the exception rather than the norm. Instant-power, or power-through-birthright/lineage, attitudes are a prevalent and a hard-wired feature in our culture, sadly. There has been a de-emphasis on hard work and earned achievement. Instead, we prefer short-cuts -- anything quick and easy with instant results. And what could be more easy than being born with a magical silver-spoon in one's mouth? However, what's more unfortunate is the number of people who believe they have a ceiling to their abilities when really they have the power to reach the stars.<br />
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I welcome comments and discussion from my readers.<br />
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Best,<br />
B. BalkanBoris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com3tag:blogger.com,1999:blog-1351715704059341447.post-50855266606201526342015-06-08T20:33:00.002-07:002015-06-08T20:33:57.564-07:00Sabbatical continued...Thank you for your continued patience, dear readers.<br />
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When I decided to go on sabbatical near the end of April I had no idea that it would lead to an extended and productive period of research, creativity, and personal exploration. Solitude, especially in very remote and wild areas, has its way of recalibrating one's perspective. It is along the lonely back roads, the deep hidden valleys and grottos, or high atop wind-swept bluffs that one is most likely to encounter a sense of another world. I had planned for a simple, quiet, and relatively brief break from the daily routine. Instead, my short period of respite has turned into an extended and on-going hermitage out in the savagely beautiful hinterlands. <br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Uttewalder Grund</i> (1828) by Caspar David Friedrich</td></tr>
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I have spent so many years with my nose in books (or in front of a screen, sadly) that I became blind to certain signs, changes, and processes occurring around me; a sort of academic myopia. Then, after an unexpected spiritual vivication, answers to difficult questions with which I had previously struggled were suddenly right there -- they always had been -- all I had to do was notice. Not just look, but actually <i>see</i>. This has been a not-so-subtle wake-up call. I believe that everyone needs to see the world with renewed eyes now and then. Sometimes it takes stillness, desolate places, and isolation and for us to quell our internal chatter and finally hear the voices that have been trying to assist us all along.<br />
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I felt my readers deserved an explanation for this blog's inactivity as of late, and I do hope you understand. I am sure many of you have had similar experiences along your varied paths, so to some extent I may be preaching to the choir, as they say. After all, vision quests are an essential feature of many magical traditions.<br />
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Rest assured this blog will return soon with fully recharged batteries and all new reviews.<br />
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Thank you once again for your patience and for your continued support of Balkans Arcane Bindings.<br />
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Sincerely,<br />
B. Balkan<br />
<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com0tag:blogger.com,1999:blog-1351715704059341447.post-83021107484449295912015-04-19T13:04:00.000-07:002015-04-19T13:04:26.511-07:00On SabbaticalMy apologies for delayed reviews. I am currently on sabbatical in the countryside to focus on long-neglected study and research. My sabbatical will conclude with a week-long stay in solitude at an allegedly haunted rural church owned by a good friend. I will return very soon with a new review. Thank you for your patience, dear readers.<br />
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B. Balkan<br />
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com1tag:blogger.com,1999:blog-1351715704059341447.post-60401357502246756902015-03-11T18:17:00.000-07:002015-03-12T17:15:04.022-07:00A Follow-up to Last Year's Esoteric Book of the YearI recently received a very nice and fascinating letter from Mr. Steve Patterson, author of last year's Esoteric Book of the Year, <i>Cecil Williamson's Book of Witchcraft: A Grimoire of the Museum of Witchcraft. </i>Mr. Patterson graciously gave me his permission to share the letter on this blog. I hope my readers find it equally fascinating. In the letter Mr. Patterson offers a glimpse into his creative process and comments on how he made the Presentation boxes for the Special Fine Edition, and how they are "energetically" linked to the Museum of Witchcraft. He also discusses making six Blackthorn boxes for Andrew Chumbley at the author's request. Mr. Chumbley intended to place some esoteric tracts in them and distribute them privately. The Blackthorn boxes and their contents have since achieved a near-legendary status.<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.museumofwitchcraft.com/" target="_blank">Museum of Witchcraft</a></td></tr>
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Dear Mr Balkan<br />
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I would like to thank you for your prestigious Golden Talisman award, and what a fine accolade that is to be sure! Of course thanks really need to be given for the Troy ladies and their fine production and those all too often anonymous and unsung craftspeople that did such a spectacular job of its binding.<br />
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It has been a long journey bringing the book in to the world, and looking back over time, it’s strange how that during the time of its creation, attitudes and perceptions have changed so much. When it began there was little regard for the old (non-Wiccan) craft, it was seen as at best a romantic fancy but most often as an irrelevance or an outright fabrication, and likewise there was little regard for Cecil Williamson. His work was indeed seen in the same manner. This was quite simply why I had access to all his unpublished material; literally no one seemed to see it for what it was or have any interest in it. Now however both seem to be taking their proper place in history. If there is a message in this book it is to persevere and stick to your guns!<br />
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Apart from using my battered old laptop for writing I generally avoid computers like the plague (I often speculate that The Cecil Williamson book is probably one of the last books ever to be written that employed no use of the internet!), so consequently I am somewhat out the loop regarding new publications. Reading your review (which was kindly printed and shown to me by my publishers) I was amazed to see how many wonderfully produced deluxe Occult publications there are around nowadays. Their certainly is some intriguing stuff out there. I must say I can’t imagine why one would want to use a pentacle for disrupting the cosmic order and drawing in the dragon forces from the other side. If any one does I do rather hope that its effect is localised!<br />
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The Presentation box for the “Cecil Williamson book of witchcraft” is crafted from Devonshire Oak. The Timber is previously unused. I always use rough sawn boards straight from the tree. I like to think that this keeps some of the original elemental force intact. I take a sculptural approach to box making (rather than that of pure cabinetmaking), I start with a rough shape and through many different processes of cutting, and scraping and abrasion bring it to its final form. It is a process of creation/dissolution/creation. The finished results are consequently all original and the subtle variation of dimensions and angles has a peculiar effect on the perceptions - in much the same way that the irregularities in gothic architecture give it its effect.<br />
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The hinges, nails and rivets are also all handmade and beaten from copper. There is indeed a Venusian resonance there (Venus/copper and Jupiter/oak are indeed very apt materials for such a book …it didn’t occur to me before!), but the main significance, apart from the fact that copper is such a wonderfully aesthetic material and seems to work so well with oak (Copper fixings are traditionally used with oak as iron can cause staining and discoloration), is that it is a nod to the old ‘Tinkers’ or itinerant copper workers …who of course were a venerable tribe of sorcerers who bought many of the Pellar mysteries to this land.<br />
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Point taken about the potential over use of boxes with deluxe occult tomes. I would like to think however that this was not just a novelty with the Cecil Williamson book; it is expressing a kind of continuity which is embodied in the publication.<br />
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Firstly, I am a woodcarver by trade and I have provided much of the woodcarving around the Boscastle Museum of Witchcraft and Magic, which is of course built upon Cecil Williamson’s Collection. There is consequently a very real connection between these boxes and the work of Mr Williamson. In fact in a recent commission for the Museum some of the same batch of timber was used. These boxes could be said to be energetically linked to the very fabric of the Museum and Cecil Williamsons collection in a very direct way.<br />
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Secondly, although I cannot lay clamed to originating the idea of wooden boxes for Deluxe occult books (I believe Manly Palmer Hall did it some time ago) I feel I was unwittingly involved in there resurgence. Some years ago Andrew Chumbley (Then magister of the Essex based Cultus Sabbatti) asked me to make him half a dozen blackthorn boxes in which he wished to place some esoteric tracts and distribute them to certain initiates of the arte. As we all well know that due to the vagaries of the publishing industry, that even though books may change hands for a large price, this rairly filters back to the author. Even though Andrews books were starting to sell for a considerable price he was still an impoverished writer, mainly living off of selling his artwork at the time and I was an impoverished woodcarver, mainly living off casual farm work. (Once whilst musing on the fact that occultists never seem to have any money, with his characteristic dry humour he replied “There is something I believe in the small print.”) …anyway, I digress. I still have a letter from him asking me if I would be willing to exchange the boxes for two copies of the new edition of the “Azoetia” when it came out. With my usual complete lack of business acumen I said to him – Why on earth would I want two …just give me one.<br />
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I still have the Azoetia, and the blackthorn boxes have gone out in to the world and I believe have attained an almost mythical status. In short, I would like to think that these oak boxes for the “Cecil Williamsons book of witchcraft” draw a direct line of decent from those old Cultus Sabbati Reliquaries. For me personally it also is a way of honouring Mr Chumbley, for it was he who first planted the idea that I should write a book …He even gave me the title. It wasn’t this one, it’s still hovering there in the astral waiting to be written, but that is another story.<br />
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Anyway … once again thank you for your award and I am glad you derived so much pleasure from the book. Maybe someday I will claim that drink from you!<br />
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Blessings<br />
<br />
STEVE PATTERSON<br />
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CORNWALL , March 2015</blockquote>
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<b>Coming very soon....</b> My next review will be the Deluxe Edition of Angel Millar’s <i>Freemasonry: Foundation of the Western Esoteric Tradition </i>published by Salamander and Sons.Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com5tag:blogger.com,1999:blog-1351715704059341447.post-74654523265965056642015-01-18T21:24:00.000-08:002015-01-19T18:19:53.313-08:002014 Esoteric Book of the Year*First, a note on how books are judged.<br />
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Books will be judged by the following criteria: binding, materials, design, talismanic intent & method of consecration (if applicable), artwork/layout, and editorial rigor. Books are chosen from those released and delivered (in full) within the year 2014 (even though they may have a 2013 publication date). This is because books tend to encounter publishing delays. It is especially common in esoteric publishing for a number or reasons (including some of high strangeness). For example, a 2013 book may not actually be available until 2014 in some cases. Books will not be judged by their topic, theme, or content (other than grammar). This may sound strange, but I feel it is unfair and pointless to compare or make value judgments between different magical paths or traditions (like comparing apples to oranges). While I do my best, I am not qualified to judge and assess every magical system the world has to offer; I very much doubt such a person exists. Therefore, books will be judged by their craftsmanship, editorial competence, creativity, and beauty only.<br />
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In recent years there has been a dramatic increase in the publication of deluxe esoteric books. This is certainly good news to publishers, readers, and collectors; however, it is becoming increasingly difficult to keep up with such voluminous output. Frankly, there is not enough time for any individual to read and assess every deluxe esoteric book published in a given year. A few years ago it was possible, but no longer. This is a good "problem" to have, though some very important and noteworthy books may end up falling through the cracks as a consequence. Therefore I apologize in advance to publishers and authors of books I may have overlooked. To help remedy this, and give credit where credit is due, I invite my readers to post titles of deserving books (from 2014) that may have been overlooked in the comments section of this post.<br />
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And now, Balkan's Arcane Bindings pick for the English language 2014 Esoteric Book of the Year.<br />
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<b>The Golden Talisman Award for 2014 Esoteric Book of the Year goes to....</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZj1FAm5TZHK3w1bzFUON3e0aqRstp3SeOzLkJKEKvVZhJ0Cx3bUXDIhKntnZaXrYVyAgpm_-XnAL0r3CCP8B5uZrF36-BDf7F9MLHldncw54QYuLm5jt3zxLda_LvF9LykCfm7MEMyUUB/s1600/Award+1+Gold+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZj1FAm5TZHK3w1bzFUON3e0aqRstp3SeOzLkJKEKvVZhJ0Cx3bUXDIhKntnZaXrYVyAgpm_-XnAL0r3CCP8B5uZrF36-BDf7F9MLHldncw54QYuLm5jt3zxLda_LvF9LykCfm7MEMyUUB/s1600/Award+1+Gold+sm.jpg" /></a><a href="http://troybooks.co.uk/">Troy Books</a>'<i> Cecil Williamson's Book of Witchcraft: A Grimoire of the Museum of Witchcraft</i> by Cecil Williamson and Steve Patterson (Special Fine Edition). Octavo. 304 pages.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2a2pkudiFTWjvcpSL26DDm9sfQ_jGPSUTLoWmx0QZ0L1e8pu0FDnBwQIfcuXU4nuRhU_DFrl7YRoa89b2RwlbSoLMyPzxhYJWej8coi1Q9OjQgvudshbPnj-DegRccyYUhkLxyoIGShns/s1600/20150104_162246.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2a2pkudiFTWjvcpSL26DDm9sfQ_jGPSUTLoWmx0QZ0L1e8pu0FDnBwQIfcuXU4nuRhU_DFrl7YRoa89b2RwlbSoLMyPzxhYJWej8coi1Q9OjQgvudshbPnj-DegRccyYUhkLxyoIGShns/s1600/20150104_162246.jpg" height="400" width="225" /></a></div>
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There is a wonderful story behind this book: About twenty years ago, while helping with refurbishments at the <a href="http://www.museumofwitchcraft.com/">Museum of Witchcraft</a> in Boscastle, Steve Patterson discovered a curious manuscript written by the museum's founder, Cecil Williamson. Its title read simply, "Witchcraft". The manuscript contained a number of charms, instructions, and philosophy the author believed were authentic examples of traditional witchcraft as practiced in the West Country by the wayside witches, or "Aunty Mays", as they are sometimes called. Lastly, the author discussed his interactions with notable figures Gerald Gardner and Aleister Crowley. </div>
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Now, a couple decades later, Cecil Williamson's <i>Witchcraft</i> book is finally available to the public. The book includes an annotated transcript of Williamson's <i>Witchcraft</i> manuscript plus historical background on Cecil Williamson and the Museum of Witchcraft. This is a very important work that will help historians and practitioners decipher which, if any, early witchcraft practices survived unbroken into the 20th century, and if so, <i>are they still present in so-called "modern" witchcraft?</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfzqjWXj27LwTtK-A6uxQm5qTSM1rCwIZJP5nvCugFZIcA_HaZEyqRv2DYT80hBx-OaoqC_7WuEVstIpBpoSWfGIwOI8NT_1mgzsJYdwhDzt_GoamiLzJST9vuttsU7Pzz8MvPDUNgK2Ve/s1600/20150104_144516.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfzqjWXj27LwTtK-A6uxQm5qTSM1rCwIZJP5nvCugFZIcA_HaZEyqRv2DYT80hBx-OaoqC_7WuEVstIpBpoSWfGIwOI8NT_1mgzsJYdwhDzt_GoamiLzJST9vuttsU7Pzz8MvPDUNgK2Ve/s1600/20150104_144516.jpg" height="400" width="268" /></a><br />
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Interestingly a recent discovery in Cornwall may finally prove the existence of an unbroken witchcraft tradition reaching from the 1640 to as recent as the 1970s. Read the article <a href="http://www.dailymail.co.uk/news/article-2889879/Archaeologists-reveal-Cornish-spinsters-using-witch-pits-recently-1970s-claim-practice-alive-today-discovering-scores-lined-swan-feathers-eggs.html">here</a>.<br />
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Steve Patterson's contributions are considerable, approximately two thirds of the book's 304 pages. Mr. Patterson's passion for the subject is clearly evident by his thorough annotations, copious notes, inclusion of historic photos, comprehensive history of The Witchcraft Museum, exhaustive appendices (nearly 100 pages!), and index. A remarkable feat.</div>
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Watch Mr. Patterson discuss the manuscript <a href="https://www.youtube.com/watch?v=jQ1RgGSWHx0">here</a>. I'd like to buy the man a pint.</div>
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Mr. Patterson was recently interviewed by Karagan Griffith at <i>On the Black Chair</i>. Listen <a href="https://www.youtube.com/watch?v=nb5g4XAX-OY">here</a>.<br />
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The Special Fine Edition of <i>Cecil Williamson's Book of Witchcraft </i>resides within a stout oak box handmade by the author, Steve Patterson. Only 10 were produced. The box's hinges and clasp are made of hammered copper. Copper nails are also used in the box's construction. One can perhaps assume that copper, associated with Venus, was chosen for its historical use in witchcraft and for its conductive properties. The wood does not appear new, so I have the impression that the wood used for the boxes is "reclaimed" lumber of some variety. If so, I makes me wonder what its previous use may have been. It is immediately obvious the box is handmade, most notably from its charming irregularities. For example, the bottom of box is constructed with beautifully mismatched wood planks. Its rustic construction and hand-carved ornamentation, a central charm claiming, "Who so bears this sign about him, let him fear no one, but fear God", lends the box a hoary and arcane air. The inside is lined in black felt and contains a ribbon book lift to assist in removing the book from its oaken abode.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpO-pQWV9gzlzFFciTnemT_jLqDvkAy0GT5PwvlaYhNY-_nEtZeo2Q1wr5qQupNXa12G_c8zCstsC1V-IofAVEZ31dD8MIopePjMShm1L8DP6hfr6n4VN05vSKM3WNcOanRn6zCWLtAK-C/s1600/20150104_144600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpO-pQWV9gzlzFFciTnemT_jLqDvkAy0GT5PwvlaYhNY-_nEtZeo2Q1wr5qQupNXa12G_c8zCstsC1V-IofAVEZ31dD8MIopePjMShm1L8DP6hfr6n4VN05vSKM3WNcOanRn6zCWLtAK-C/s1600/20150104_144600.jpg" height="225" width="400" /></a><br />
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The book is bound in full, hand finished, terracotta goat. The leather has an almost candy-like scent, like cherry taffy. The cover is gilt blocked with a prosperity charm. Title and author are gilt blocked on black leather labels adhered to the spine. The spine has six raised bands with the publisher's colophon gilt stamped at the book's tail. Accents include a gold ribbon place marker and marbled endpapers in russet, green, and cream.<br />
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<i>Cecil Williamson's Book of Witchcraft </i>is as talismanic as they come. It is a phenomenal mixed-media expression of Steven Patterson's understanding of witchcraft and his reverence for the tradition. Astounding.<br />
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As of this writing, Standard and Fine Editions are still available <a href="http://cecil%20williamson%27s%20book%20of%20witchcraft/">here</a>.<br />
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*This year there is a tie for second place and the Silver Talisman Award. The books are so similar that I feel they deserve equal ranking. </div>
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<b>In second place the Silver Talisman Award goes too...</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYSCjOqYVZgot2ROLzXiO4FTq0jII1utSllPNO4O-JZ7k1-gDsJho0YeaT01k4Dh0aJxuO4yut-TOixeZTQveX-wY1hraMJW3Wpm1cBW43Qtqe3CXp3rRMEvobTIK0JTOooaM59bBFmJcJ/s1600/Award+1+silver+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYSCjOqYVZgot2ROLzXiO4FTq0jII1utSllPNO4O-JZ7k1-gDsJho0YeaT01k4Dh0aJxuO4yut-TOixeZTQveX-wY1hraMJW3Wpm1cBW43Qtqe3CXp3rRMEvobTIK0JTOooaM59bBFmJcJ/s1600/Award+1+silver+sm.jpg" /></a></div>
<a href="http://www.ixaxaar.com/">IXAXAAR</a>'s <i><b>The Book of Sitra Achra</b> </i>by N.A-A.218 (Deluxe Edition). Octavo. 309 pages.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaQGIqAcWfvKKJ02HZ3wsIJbgw49K5Ya576MNcP_6QLc5hdd3q_RKtApIAOdUzssGDNJVXakiXanFT_8j_hyphenhyphenQL8Wge4JqJGVfMsBbrD_n7Q_fxN-AXRHCOowA1yepTKYdWJLdvYC_2Lcf/s1600/20150104_155807.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaQGIqAcWfvKKJ02HZ3wsIJbgw49K5Ya576MNcP_6QLc5hdd3q_RKtApIAOdUzssGDNJVXakiXanFT_8j_hyphenhyphenQL8Wge4JqJGVfMsBbrD_n7Q_fxN-AXRHCOowA1yepTKYdWJLdvYC_2Lcf/s1600/20150104_155807.jpg" height="400" width="307" /></a></div>
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When I opened the mysterious gilt and leather solander box I gave an audible gasp. Lurking inside upon blood-red suede was a creature unlike any I had ever seen. Golden snakes intertwined upon a surface of pitch black scales. At the center shined an eleven-angled gilt seal. This was <i>The Book of Sitra Achra</i>... <br />
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Author N.A-A.218 and IXAXAAR have succeeded in crafting one of the most fiendishly elegant books I have ever laid eyes upon. It exudes lethal doses of beauty and menace; an alluring cocktail of captivation and corruption.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwahgukdoWDcntRj1uTVP-J452o1QoVqpoImWBFg1Z8dM6Q1pBfYDSchd0M9C6H6TueQ2Y6lmaWNs-E2KzE7zcIkOmF-03pbpG2eYBs3YPw0eB36nOcQ66w1U7aBNz1U4rHT2m4cTvJmpt/s1600/20150104_154936.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwahgukdoWDcntRj1uTVP-J452o1QoVqpoImWBFg1Z8dM6Q1pBfYDSchd0M9C6H6TueQ2Y6lmaWNs-E2KzE7zcIkOmF-03pbpG2eYBs3YPw0eB36nOcQ66w1U7aBNz1U4rHT2m4cTvJmpt/s1600/20150104_154936.jpg" height="400" width="260" /></a><br />
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The Deluxe Edition is bound in full black python. The scales are small and more pliant than one would expect. I often think of snakeskin as delicate, and sometimes rough or brittle when touched against the grain. However, the skin used for this binding has been softened to an almost rubber-like texture. It is an exquisite material yet tough enough to be used in ritual as intended. The cover is gilt stamped with braided snakes and a central open-ended pentagram representative of, "the breaking of the ten angles of the pentagram, bringing about the disruption of cosmic order and the intrusion of the powers of the Dragons of the Other Side." Page edges are gilt. The book's boards are surprisingly thick (nearly one quarter inch), giving the book a solid construction. Head and tail bands are black leather.<br />
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The book is just as beautiful on the inside: The reader is greeted with marbled endpapers that I liken to gilded cobwebs stretched across an abyss -- a symbolic representation for traversing a perilous path across the Abyss and through Daath. Pages are cream-colored, medium weight, and lightly textured with a vertical grain.<br />
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The Deluxe Edition also comes with an omitted chapter in booklet form, described as, "a ritual for the attainment of contact with the Guardian Angels of
this Sacred Work of the Thoughtless God". It comes inside a large black envelope. Unfortunately it is too large to fit inside the solander box along side the book. It would have been convenient to store both works together.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGsUC1YAS5fzW3Ffb7J8jiGlHTxgtPJiEAG3WAmerKDOv245PkP2PKdnA1rFPwbQqdV7JED__3XDmaiqV1b7gxCTv33AC9t2wk5EqbINCLbtkFMRDHODIeLi012QuC7F-687cM7PZxismg/s1600/20150104_155222.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGsUC1YAS5fzW3Ffb7J8jiGlHTxgtPJiEAG3WAmerKDOv245PkP2PKdnA1rFPwbQqdV7JED__3XDmaiqV1b7gxCTv33AC9t2wk5EqbINCLbtkFMRDHODIeLi012QuC7F-687cM7PZxismg/s1600/20150104_155222.jpg" height="225" width="400" /></a><br />
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<i>The Book of Sitra Achra</i> is essentially a compendium of Qliphotic forces, the "Dragons of the Other Side", listing their seal, attributes, number, Hebrew letter, zodiacal sign, tarot counterpart, and path on the nightside of the Tree where applicable. The book has eleven chapters:<br />
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<li>The Sitra Achra and the Serpents of the Thoughtless Light</li>
<li>El Archer -- The Other God</li>
<li>The Qliphoth of the Tree of Death</li>
<li>The Eleven Heads of Azerate</li>
<li>The 60 Emissaries of the Black Light</li>
<li>The 22 Silencing Letters of the Other Side</li>
<li>The 12 Princes of the Qliphotic Zodiac</li>
<li>The Seven Hells and Seven Earths</li>
<li>The Opening Ritual of the Seven Gates of Hell</li>
<li>The Star of the Eleven -- The Qliphotic Magic of the Hendecagram</li>
<li>Building Blocks of a Qliphothic Temple -- The Tools of Praxis</li>
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The book concludes (Chapter 11) with specific incense blends for each of the Qliphotic Rulers and recommendations of specific magical tools.<br />
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Each of the 61copies of the Deluxe Edition comes with a hand-sigilized python-skin bookmark talisman "dedicated to one of the 60 Emissaries of the Black Light, linking thus each book to one of those Standard-Bearers of the Qliphoth (with book 61 being the sole exception, bearing instead a separate Talisman and enlinkment)". What I find most interesting about these talismans is their stated purpose, "These talismans were added as additional gifts for those who know and understand to cherish them and as a concrete curse upon those who for more materialistic reasons have reached out for these Talismans of Sitra Achra". Could this perhaps be the author's way of fighting grimoire scalping? It appears so, a tactic for which I wholeheartedly approve. One may want to reconsider their actions before hastily placing their copy on Ebay at ridiculously inflated prices. For more on grimorie scalping see additional commentary <a href="http://balkansarcanebindings.blogspot.com/2012/02/note-on-grimoire-scalping.html">here</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYSCjOqYVZgot2ROLzXiO4FTq0jII1utSllPNO4O-JZ7k1-gDsJho0YeaT01k4Dh0aJxuO4yut-TOixeZTQveX-wY1hraMJW3Wpm1cBW43Qtqe3CXp3rRMEvobTIK0JTOooaM59bBFmJcJ/s1600/Award+1+silver+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYSCjOqYVZgot2ROLzXiO4FTq0jII1utSllPNO4O-JZ7k1-gDsJho0YeaT01k4Dh0aJxuO4yut-TOixeZTQveX-wY1hraMJW3Wpm1cBW43Qtqe3CXp3rRMEvobTIK0JTOooaM59bBFmJcJ/s1600/Award+1+silver+sm.jpg" /></a><a href="http://www.primalcraft.com/">Primal Craft</a>'s <i><b>The Altar of Sacrifice</b></i> by Mark Alan Smith (Sacrificial Soul Edition). Illustrated in black and white by Lorein. Octavo. 400 pages.<br />
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<b></b>There are a number of obvious similarities between <i>The Altar of Sacrifice</i> and <i>The Book of Sitra Achra. </i>Both are bound in full black snakeskin over heavy millboard covers, are gilt stamped, and include solander boxes for protection. In each case the solander box (also called a "clam-shell" box) was a wise decision. A slipcase would have likely caused wear or damage to the snakeskin scales through friction with the slipcase if the book was slid inside against the grain. That danger is avoided entirely by <i>lifting</i> out of the box -- no sliding necessary.<br />
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Deciding which book was better was like splitting hairs -- each has its own unique serpentine charms -- so, deserving it equally, I decided they should share second place.<br />
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<i>The Altar of Sacrifice</i> differs in a few significant ways. First, the snakeskin binding has much larger scales than <i>The Book of Sitra Achra</i> and has a high gloss (this may vary from copy to copy). Secondly, it is a much larger book -- nearly a third larger in thickness and significantly heavier. This is mainly due to the book's heavy weight paper (almost card stock). It also has nearly 100 more pages; 400 (including 10 pages for notes) compared to <i>The Book of Sitra Achra's</i> 309 pages.<br />
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<b style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGSd_oDQ3yHdJWTuTNvZDW1HY9h-hmJkHrWmDLIfAMb4e1p6w2NpIY4VkDAlDbVgqbfRuaaAaOv4LOupqWkaSTlpEex3oO7EVKH2rtYUit-MJFCutZt5Lw94uwvNK-AL6BPcqMsfg7_7Gg/s1600/20150104_155320.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGSd_oDQ3yHdJWTuTNvZDW1HY9h-hmJkHrWmDLIfAMb4e1p6w2NpIY4VkDAlDbVgqbfRuaaAaOv4LOupqWkaSTlpEex3oO7EVKH2rtYUit-MJFCutZt5Lw94uwvNK-AL6BPcqMsfg7_7Gg/s1600/20150104_155320.jpg" height="400" width="225" /></a></b><br />
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The solander box is covered with fine black fabric. The spine is gilt stamped with the author's name, title, press, five bands, and a device described as the, "Seal of the Queen of Hell's Throne". Inside the books rests upon royal blue suede. The book's spine has five raised bands lined in gold and contains the same content as the spine of the box. It has a deadly beauty about it. The cover is gilt stamped in 24 carat gold with, "Sacred Seal of Flesh and Fur". The inside has solid bronze endpapers and includes a black ribbon place-marker. Page edges are gilt and off-white.<br />
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The book has six spectacular full-page illustrations by an artist known only as "Lorein". My favorite is titled, "The Formula for Soul Inversion" (found on page 51). It depicts a dragon-like demon holding a trident. He (Belial) is standing over a man that is shape-shifting into a wolf (or wolf into man). Other wolves watch from the forest's edge. The "Seal of the Queen of Hell's Throne" hangs in the night air. The level of detail is incredible -- a striking image of sorcery and lycanthropy. Lorein has also recreated all the interior designs found throughout the book: seals, sigils, gates, etc. from Mr. Smith's personal notes.<br />
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**Update -- Thanks to Mr. Smith for giving me permission to use the work mentioned above, "The Formula for Soul Inversion", for this review.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFOtWo807YY22twIhtQ1RyZO8NqMS-9UlVX6WpgyrAwpCrkuE_tBfVbcTE7KFNkKfXAPfS2Zd33IuZkzY_7r35ikGs_kz8c4YJbsPBXjZQZFU53ahWD1wcCSh0GLq0j1Zd5ivLgmG33Fik/s1600/Image2b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFOtWo807YY22twIhtQ1RyZO8NqMS-9UlVX6WpgyrAwpCrkuE_tBfVbcTE7KFNkKfXAPfS2Zd33IuZkzY_7r35ikGs_kz8c4YJbsPBXjZQZFU53ahWD1wcCSh0GLq0j1Zd5ivLgmG33Fik/s1600/Image2b.jpg" height="400" width="275" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"The Formula for Soul Inversion" by Lorein. Used with permission from Primalcraft.com.</td></tr>
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<b style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbSQczQmAzmYJFPiYR_GoJsVbvx9D0PgkMEVThPPYo2Uj4DAuNU0EteEMCMErqebLww2lZtQPi-SGhfPvPkqlzp6buSyLxi1DU-uuWZj-glLDvhjw0QchLKKgjbFchU-lGUsKliVpffqye/s1600/20150104_155502.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbSQczQmAzmYJFPiYR_GoJsVbvx9D0PgkMEVThPPYo2Uj4DAuNU0EteEMCMErqebLww2lZtQPi-SGhfPvPkqlzp6buSyLxi1DU-uuWZj-glLDvhjw0QchLKKgjbFchU-lGUsKliVpffqye/s1600/20150104_155502.jpg" height="225" width="400" /></a></b><br />
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<i>The Altar of Sacrifice'</i>s subject matter is certainly a controversial one. As the title implies, its primary theme is sacrifice, including animal sacrifice (One animal was clearly sacrificed for the book's elegant binding). Mr. Smith addresses the subject deftly and honestly. He also acknowledges is not the path for everyone, saying, "The way of the <i>Bloodless Path</i> is as valid and noble as the <i>Way of Sacrifice</i> when beheld by the Eyes of Gods." Mr. Smith's path of sacrifice is similar in some ways to Kosher methods of slaughter (Shechitah): ritualistic, respectful, and as painless as possible. Many readers are likely to object to this, though it would be a rather hypocritical stance if they are meat-eaters. Most Westerners prefer their meat to be a "product" that is as unrecognizable as possible from the animal of origin. Most could not look their food in the eye, nor wield the killing blade. Yet they order their Big Macs without a moment's pause -- out of sight, out of mind. Furthermore, large-scale factory slaughterhouses have very little respect for the animals they "process". That said, it is my personal belief that sacrificed animals should be consumed. I should be clear that I have strong feelings against killing or inflicting pain solely for the act of killing or torture. For more on this subject check out an earlier post <a href="http://balkansarcanebindings.blogspot.com/2012/04/toadman-by-nigel-pennick.html">here</a>.<br />
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Like many of Mr. Smith's earlier works, <i>The Altar of Sacrifice</i> includes a large number of prayers and petitions. The book is divided up into three parts: The First Book of Sacrifice, The Book of the Temple of Four Pillars of Fire, and The Book of the Dragon God. The Sacrificial Soul Edition is signed and sigilized in ink mixed with the author's own blood.<br />
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In third place, the Bronze Talisman Award goes to...</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6oVKuTP6lMHOI8X-mn-lParokWCFRycaJun5eUZcOnrUPFQ9V_8Sgzbq6twSgOHJ-_Z1G2N3LLdyzqNy_2NFCrARVgTSv5o54n0d05u_tmgT6AfHIpUsu2TBqUKHzBV1GhiW-UCr2x_K8/s1600/Award+1+bronze+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6oVKuTP6lMHOI8X-mn-lParokWCFRycaJun5eUZcOnrUPFQ9V_8Sgzbq6twSgOHJ-_Z1G2N3LLdyzqNy_2NFCrARVgTSv5o54n0d05u_tmgT6AfHIpUsu2TBqUKHzBV1GhiW-UCr2x_K8/s1600/Award+1+bronze+sm.jpg" /></a><a href="http://www.caduceusbooks.com/publications.htm">The Society of Esoteric Endeavour</a>'s <i><b>The Graveyard Wanderers: The Wise Ones and the Dead in Sweden</b></i> by Dr. Tom Johnson. Wide Octavo. 106 pages.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-RDnQ4L8K8lPcENdNZLv7SHZjN49oTu_xQw2EkM1WoCEzJhxUS4DMLQdPLUeiUWNks6pwgMiTVD2VZ6Rgt54qpeyXTB7cLSFHmvSd08dc65FzKu4tcqkk_n2s3qKml5cXSv0a6JqXOPJb/s1600/20150104_155900.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-RDnQ4L8K8lPcENdNZLv7SHZjN49oTu_xQw2EkM1WoCEzJhxUS4DMLQdPLUeiUWNks6pwgMiTVD2VZ6Rgt54qpeyXTB7cLSFHmvSd08dc65FzKu4tcqkk_n2s3qKml5cXSv0a6JqXOPJb/s1600/20150104_155900.jpg" height="400" width="355" /></a></div>
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This one was a delayed entry from last year. The book came out in 2013; however, the handmade copper slipcase did not arrive until 2014. Therefore the entire package will be counted as a 2014 entry.<br />
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There has been a small but significant resurgence in Scandinavian folk magic books recently. 2013 saw the printing of Fredrik Eytzinger's <i><a href="http://salomonic%20magical%20arts/">Salomonic Magical Arts</a>. </i>Shortly after, Dr. Tom Johnson translated 37 "Svartkonstbuchs" (black art books) and collected them together to create this wonderful book of Swedish necromancy titled, <i>The Graveyard Wanderers: The Wise Ones and the Dead in Sweden.</i> Later this year Johannes Gardback's <i><a href="http://www.luckymojo.com/trolldom.html">Trolldom: Spells and Methods of the Norse Folk Magic Tradition</a> </i>will be also available<i>.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRLNLhrKMYcF3wcs8weIFgrwHDWvW5t6XK3cygDzxjQrS6mRAuJ2ZO1F7lwCkj6PQZ_XGMpShVnjKnH_P0U7yh9HIuGZ28qzAZb41iUrP65tiyUZ1tIa8mJLw3_UckkRAp0tXhnZQXbNxh/s1600/20150104_152933.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRLNLhrKMYcF3wcs8weIFgrwHDWvW5t6XK3cygDzxjQrS6mRAuJ2ZO1F7lwCkj6PQZ_XGMpShVnjKnH_P0U7yh9HIuGZ28qzAZb41iUrP65tiyUZ1tIa8mJLw3_UckkRAp0tXhnZQXbNxh/s1600/20150104_152933.jpg" height="400" width="225" /></a><br />
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<i> The Graveyard Wanderers</i> collects dozens of charms used primarily for controlling spirits of the dead, but also contains a number of near-universal folk charms for: winning at games of chance, becoming invisible, healing, detecting thieves, shape-shifting, bewitching firearms, and even for catching fish. The book concludes with a fascinating afterword, "The Wise & Their World", followed by a bibliography, and footnotes.<br />
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This is artisinal bookbinding at its most creative. The creator, Ben Fernee of The Society of Esoteric Endeavour, put a tremendous amount of thought and personal knowledge into this. The first thing that catches the reader's eye is the marvelous, hand-made, copper-clad, slipcase (offered optionally). The case has heavy, scalloped-cornered, and gray marbled boards on each side. Note the faint skeletal hands in the pattern. The book fits snugly inside and is protected by a copper spine cap stamped with four skulls. When completely enclosed the book is thoroughly protected. Perhaps the copper case serves a secondary purpose by providing protective "shielding" around the book -- a bibliopegistical Faraday cage, if you will. The case and spine cap are lined with black felt.<br />
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The book is covered in leather cloth (85% leather). Presumably this was chosen over leather hide to pull off the book's extravagant and decorative inset with beveled board edges. Inside the open panel is a copper plate (front and back) with raised skeletal hands. When one holds the book one feels the cold metal of the skeletal hands as they partially intertwine with one's own fingers -- a chilling yet exhilarating effect. The book exudes the sharp metallic scent of copper. A few words from the binder about the use of metal,<br />
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<blockquote class="tr_bq">
"The Wise Ones would pay for the services of the Dead by leaving in place of the bone, a piece of metal in the form of a coin or a scraping from a church bell. Metal is an ideal vehicle for the transmission of deathliness ... the form of skeletal hands in the binding of this book, so the reader feels the shape of dead fingers interlaced with their own. Bones are the part of us that persist after decay, and here the copper that forms their shape has been patonised, whereby the natural oxidation process is accelerated and stabilised. The result are iridescent colours, an effect referred to as the "peacock's tail" in alchemy, where it is identified with the stage of decay in the Great Work. The patonised copper is then preserved with lacquer."</blockquote>
Fascinating. I am in awe, Mr. Fernee. Time will tell if the lacquer has completely halted the copper's oxidation process, or if over time the book will exhibit a slow and creeping green patina. One never knows: a leprous verdigris may enhance the book's aesthetic appeal.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQDIOG5XaVQlghq8BHMVFcj4D31l5quAfnMTF5W6iBCWyeNqH1_oo4E2bu1Ahul53OSH7vnQ_HZNOyLM2nT6RkRc9zDU2y6__gUal8bLIKPBpd5M57TWi-YeDr0IfgtnQODSVhJXqXX3Xb/s1600/20150104_150042.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQDIOG5XaVQlghq8BHMVFcj4D31l5quAfnMTF5W6iBCWyeNqH1_oo4E2bu1Ahul53OSH7vnQ_HZNOyLM2nT6RkRc9zDU2y6__gUal8bLIKPBpd5M57TWi-YeDr0IfgtnQODSVhJXqXX3Xb/s1600/20150104_150042.jpg" height="400" width="225" /></a><br />
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The title is in white, a stark contrast against the black leather cloth, as are three skulls and the publisher's colophon on the spine. I must say the white skulls are a bit much, but it can be excused due to the fact that it is upholding a very old tradition. Again, Mr. Fernee,<br />
<blockquote class="tr_bq">
"The black cloth is lettered in white as there is a tradition within the corpus
that is how a black art book should look. ... The sense of this tradition is unclear, though an observation based on handling
copies of this book is that white letters on a black background can be discerned
more clearly in half-light, perhaps appropriate for night time rituals in
churchyards."</blockquote>
There you have it; all for the benefit of nyctophiles such as we. The book's endpapers mirror the marbled skeletal hand panels of the slipcase. The paper is a real treat: "Printed on 180 gsm Fabriano Ingres, a real laid paper, whereby the textures are
natural product of the pulp on wire mesh frames rather than being artificially
embossed with a pretend texture." Text is printed in three colors: black, gray, and crimson. A must-have for any aspiring necromancer.</div>
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<b><u>
2014 Honorable Mentions:</u></b></div>
<ul>
<li><i><b>Arbor de Magistro: An Advanced Study on Aethyric Evocation</b></i> by Nikolai Saunders (Magister Edition), published by Fall of Man. Magister Edition comes with a handcrafted and sigilized oak box. For the advanced student.</li>
<li><i><b>Flamel's Heiroglyphical Key</b></i> by Nicholas Flamel and translated by: Eirenaeus Orandus (Brazen Serpent Edition), expertly bound in Cambridge style binding by Michael Atha of Restoration Books, published by Ouroboros Press. A stunning little book.</li>
<li><i><b>Obeah: A Sorcerous Ossuary</b></i> by Nicholaj de Mattos Frisvold (Limited Edition), published by Hadean Press. Limited Edition comes with a custom mojo bag.</li>
<li><i><b>The Dragon Book of Essex</b></i> by Andrew D. Chumbley (Deluxe Edition), published by Xoanon Ltd. Easily the largest esoteric book of 2014. This is not a book for dabblers.</li>
<li><i><b>The Blazing Dew of Stars</b></i> by David Chaim Smith (Deluxe Edition), published by Fulgur Ltd. What more can be said about David Chaim Smith's brilliance? This is one of 2014's must-haves.</li>
<li><i><b>The Testament of Cyprian the Mage</b></i> by Jake Stratton Kent (Infernal Pact Edition, 2 volumes), published by Scarlet Imprint. Mr. Stratton-Kent's <i>Encyclopaedia Goetica</i> (5 volumes in all) is a resource of incalculable value to the Grimoire Tradition. Nothing short of astounding.</li>
<li><b><i>36 Faces: The History, Astrology and Magic of the Decans</i></b> (Special Edition) by Austin Coppock, published by Three Hands Press. Each copy of the Special Edition comes with a unique talisman depicting one of the geniuses for each of the 36 decans. An illuminating treatise by a talented young author.</li>
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<u><b>Looking towards 2015</b></u><br />
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There is a much to look forward into 2015. A number of highly anticipated books have already been announced. Here are a few:<br />
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<ul>
<li style="margin: 0px 0px 0.25em; padding: 0px;">The long-awaited <i><b>Ontological Graffiti </b></i>by Michael Bertiaux, to be published by <a href="http://fulgur.co.uk/" style="color: #312b25; text-decoration: none;">Fulgur Ltd</a>. looks to be another fascinating exploration of the Voudon Gnostic current. This book has been in the works for a long time, but it appears its release is immanent. </li>
<li><i><b>ÞURSAKYNGI - Volume I - The Essence of Thursian Sorcery</b></i> by EKORTU will arrive in the first half of 2015. It looks to be a fascinating new take on pre-Christian Norse magical practices. Yet another exciting release from IXAXAAR</li>
<li>The next publication from The Society of Esoteric Endeavour, <i><b>Book of Magic</b></i> by Herbert Erwin. This will be a wonderfully talismanic text. Each copy will come with an embedded black scrying mirror and a set of 8 velum talismans. All 196 copies of <i><b>Book of Magic</b></i> have already sold out. </li>
<li>The second book in Mark Alan Smith's <i>The Way of Sacrifice</i> trilogy, <i><b>The Witchblood Grail</b></i>, is slated for an early 2015 release. This is the fifth volume in Mr. Smith's <i>Grimoire Trilogies</i> series.</li>
<li>Will 2015 be the year we see the first volume (eleven volumes planned) in Marcus Katz' <b><i>The Magister</i></b> series?</li>
<li>And of course we mustn't forget the 2015 <u>Esoteric Book Conference</u> scheduled for next September. I was just in Seattle last November, but I am already yearning to return. Perhaps I will make it back next Fall. </li>
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<b><u>2014 Observations</u></b></div>
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<u>Wooden Boxes</u></div>
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There has been a number of esoteric books released this year that are housed inside wooden boxes (stylish to rustic). It is an interesting development. Besides the Special Fine Edition of <i>Cecil Williamson's Book of Witchcraft </i>(reviewed above) there have been other examples including Aeon Sophia Press' Devotee Edition of <i>Black Magic Evocation of the Shem Ha Mephorash by </i>G. De Laval<i> </i>(Deluxe Edition reviewed <a href="http://balkansarcanebindings.blogspot.com/2014/03/black-magic-evocation-of-shem-ha.html">here</a>) and Fall of Man's Magister Edition of <i>Arbor de Magistro: An Advanced Study on Aethyric Evocation</i> by Nikolai Saunders.<br />
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In certain cases, like Troy Books' amazing example mentioned above, decorative wooden boxes can compliment a book's subject matter nicely without overshadowing the book contained therein or its content. However, in other cases they can be a needless accoutrement, or at worst, a bulky gimmick. They also present some storage issues, as they typically take up twice the space of a non-boxed book. It also begs the question, <i>how many wood boxes does one want on their shelf? </i>Will the wooden box trend continue? Do we want it to?<br />
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<u><b>Balkan's Requests for the Future</b></u><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsfz6FwPE2AW-NEzrSTx_y7hXELYuP17E4Ji-NSWowWcZBcMXGnnAeN3dDXh-jCGCaI_mZG8n3OzKgGwPAC5d-iq10LD1PmGAe2eq3hKM3LbwdYfEsDQjzAWoPpmOjIw3pZDo5hyphenhyphen8qfkan/s1600/future-of-books-.-500x328.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsfz6FwPE2AW-NEzrSTx_y7hXELYuP17E4Ji-NSWowWcZBcMXGnnAeN3dDXh-jCGCaI_mZG8n3OzKgGwPAC5d-iq10LD1PmGAe2eq3hKM3LbwdYfEsDQjzAWoPpmOjIw3pZDo5hyphenhyphen8qfkan/s1600/future-of-books-.-500x328.jpg" height="261" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image credit: malwarwickbooks.com</td></tr>
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<ul>
<li>Books with gauffered edges.</li>
<li>Wider use of exotic yet non-endangered skins/hides (Scarlet Imprint recently published the Fine Edition of <i><a href="http://scarletimprint.com/books/reasonances/">Reasonances</a></i> using Salmon skin. Bravo, SI!). How about a book bound in stingray (shagreen) or ostrich?</li>
<li> More practical magic books and fewer that read like someone's dream diary.</li>
<li>Cross-traditional collaborations between strange bedfellows. Imagine a collaboration between Stephen Skinner and Orryelle Defenestrate-Bascule. Now <i>that </i>would be interesting. Lets move outside our comfort zones.</li>
</ul>
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Have a wonderful year, dear readers.<br />
<br />
B. Balkan<br />
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Read about past years' winners:<br />
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<ul>
<li><a href="http://balkansarcanebindings.blogspot.com/2014/01/winner-2013-esoteric-book-of-year.html">2013</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2013/01/winner-2012-esoteric-book-of-year.html">2012</a></li>
<li><a href="http://balkansarcanebindings.blogspot.com/2013/01/winner-2012-esoteric-book-of-year.html">2011</a></li>
</ul>
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com3tag:blogger.com,1999:blog-1351715704059341447.post-31310133078725880892014-11-23T22:33:00.000-08:002014-11-23T22:33:56.661-08:00Tales, rails, and ales.<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">The Cascade Mountains as seen from the train.</td></tr>
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I apologize for the delay in reviews, dear readers. I have just returned from a delightful two-week excursion to the Pacific Northwest and British Columbia via train. Trains are the perfect means of travel if one enjoys reading while traveling.<br />
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For this trip I chose to delve into dark fiction. Going with the train theme, I felt Stefan Grabinski's book, <i><a href="http://www.amazon.com/The-Motion-Demon-Stefan-Grabinski/dp/1466419768">The Motion Demon</a> </i>(trans. Miroslaw Lipinski), was an appropriate choice. <i>The Motion Demon</i> is a collection of weird tales with one common theme: trains. <a href="http://en.wikipedia.org/wiki/Stefan_Grabi%C5%84ski">Stefan Grabinski</a> (1887-1936) is considered the "Edgar Allan Poe" of Poland. His tales are highly atmospheric and filled with dread. This book truly enhanced my travel experience.<br />
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Grabinski on trains:<br />
<blockquote class="tr_bq">
"Now the world was plunged in dense darkness. Stains of light fell from the car windows, whose yellow eyes skimmed the embankment slopes. In front of him, at a distance of five cars, the engine sowed blood-red cascades of sparks, the chimney breathed out white-rose smoke. The black twenty-joined serpent glittered along its scaly sides, belched fire through its mouth, lit up the road with encompassing eyes. In the distance, the glow of a station was already visible." </blockquote>
<blockquote class="tr_bq">
"The Sloven" -- Stefan Grabinski</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXym21IpbJMA9QSsIwLZFKq3UQNUBxp-Bo7WI-ESXIeQN-kCj2k1I6oIxbhqS0wTvaHGMLwy9i07Au2SQ5QiFWGTDcpkUK1puC3ztewxCDkWVi6x7fdkeFQHeFCrK2HgjMBDAOuVBNPZs/s1600/The+Motion+Demon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXym21IpbJMA9QSsIwLZFKq3UQNUBxp-Bo7WI-ESXIeQN-kCj2k1I6oIxbhqS0wTvaHGMLwy9i07Au2SQ5QiFWGTDcpkUK1puC3ztewxCDkWVi6x7fdkeFQHeFCrK2HgjMBDAOuVBNPZs/s1600/The+Motion+Demon.jpg" /></a></div>
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<u>First stop</u>: Seattle, WA<br />
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Seattle is a wonderful and lively city. It has a distinct identity that makes it stand out among other American cities. It had been about 13 years since I had last visited Seattle, and I was surprised to see the amount of cranes in the air, and not of the feathered variety. There is an incredible amount of construction going on to meet the demands of a quickly growing city.<br />
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While in the city I met up with an old friend. She said Seattle is the fastest growing city in the United States. Later she and her husband gave me their "grand tour" of the city's more off-beat and unusual sites the city had to offer, like the Troll Under the Bridge and Gasworks Park. I would have liked to have spent more time in Seattle, but I needed to be on my way to my next destination.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Cg6GLjY3_rwLnKLLglz6Gq_fSZHps8Be3AxU5g8H9mI2rijIlC2Bz-Tbx3tAJnjV1HF-neAvMsta3OQnVe8-kmUNQV0cagU-x7uy14-iyXVJ_loKycZkgxvfc7Ws8WFUm7fBB_Ohz_i3/s1600/100_0505.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Cg6GLjY3_rwLnKLLglz6Gq_fSZHps8Be3AxU5g8H9mI2rijIlC2Bz-Tbx3tAJnjV1HF-neAvMsta3OQnVe8-kmUNQV0cagU-x7uy14-iyXVJ_loKycZkgxvfc7Ws8WFUm7fBB_Ohz_i3/s1600/100_0505.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The enormous "Troll Under the Bridge".</td></tr>
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<u>Second stop</u>: Vancouver, BC<br />
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Downtown Vancouver is very unique. It is remarkably clean for a city of its size and very walkable. What impressed me the most was how quiet it is. Typically cities of this size (a bit over half a million people) produce a cacophony of noise: cab horns, loud stereos, and the low hum of industry. Vancouver had virtually none of these annoyances. Additionally, city has done a great job preserving its past. The best example of this is Gastown. Gastown is the oldest part of the city and is now a historic district of Vancouver. Walking around Gastown is like a trip back to the late 19th century, especially when done by night. One of district's most unique features is a large steam clock. Unfortunately the steam clock was undergoing repair while I was there. The district is filled with unique shops, restaurants, and art galleries.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbzcOqm9nN_PEnoiRWAMvVNmLXFetgsbj_SvfdGg9nplqV1yPZvktTgVSR1W8n8AkIze4QHlXFf75XsuADoNrKCXoK7yhmUwH_KOtP6ddQV2qgeW9Z9re5G5u8s1RASAB-_chvC4gElaH_/s1600/Gastown-Steam-clock.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbzcOqm9nN_PEnoiRWAMvVNmLXFetgsbj_SvfdGg9nplqV1yPZvktTgVSR1W8n8AkIze4QHlXFf75XsuADoNrKCXoK7yhmUwH_KOtP6ddQV2qgeW9Z9re5G5u8s1RASAB-_chvC4gElaH_/s1600/Gastown-Steam-clock.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Steam clock in Gastown. Image credit Gastown.org</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcSafqXnqSw-XTRVaq-OYiHLbMh9x5fxXtdTf3LXf_yqNCPkAsBBgoqDHjnfV39PYIyhFAN7HrSmqaz9moEeEX9abLLSXqGkL0w5ZiUhuxSEvoQShQKTU-zUcdrdYGedyp0lfB9cY60Q1b/s1600/100_0385.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcSafqXnqSw-XTRVaq-OYiHLbMh9x5fxXtdTf3LXf_yqNCPkAsBBgoqDHjnfV39PYIyhFAN7HrSmqaz9moEeEX9abLLSXqGkL0w5ZiUhuxSEvoQShQKTU-zUcdrdYGedyp0lfB9cY60Q1b/s1600/100_0385.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Lamplighter Pub. Corner of Abbott and Water Sts. Gastown.</td></tr>
</tbody></table>
<br />
<br />
While in the area I had to stop by MacLeod's Books at 455 W. Pender St.. MacLeod's is a marvelous used bookstore and the best Vancouver has to offer. The first impression one gets when entering MacLeod's Books is that it looks like the cramped warren of a book hoarder (and I know more than a few). Stacks of books are piled high everywhere. This is no neat and organized Barnes & Noble. No, it is an organized chaos and a delight for book lovers who enjoy rummaging around for hidden treasures, and those who enjoy <i>hunting</i> for books just as much as reading them. MacLeod's is absolute nirvana for bibliophiles.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgms9vyEKAHc9C0Dv4CFW80lugVzS_9kLIrUAY2KbbuFygIoZijq-Et0QrKCjC_GwFj9VND99oGcpw0wH9SkqBoeCpfB5y6-O-sG5uwXcFEoe9n2qZXfin4axvhi4SMWghzC1Uja3EeA2Lv/s1600/5a714eb1c4a8f5c281b5a978ba53ab03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgms9vyEKAHc9C0Dv4CFW80lugVzS_9kLIrUAY2KbbuFygIoZijq-Et0QrKCjC_GwFj9VND99oGcpw0wH9SkqBoeCpfB5y6-O-sG5uwXcFEoe9n2qZXfin4axvhi4SMWghzC1Uja3EeA2Lv/s1600/5a714eb1c4a8f5c281b5a978ba53ab03.jpg" height="211" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MacLeod's books. Image credit Zaptravel.com</td></tr>
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<br /><div>
After a few hours of scanning shelves I asked one of the gentlemen behind the counter if he could direct me to where they housed their stock of rare and unusual books. He asked what subject matter I was looking to which I replied, "Folklore, Demonolgy, Witchcraft -- that sort of thing." "Hold on one moment", he replied. He returned with another gentleman who had been informed of my query. He gave me a knowing wink and said, "Follow me". <div>
<br /></div>
<div>
I had expected to be escorted to a back room, or perhaps basement storage area. Instead, I followed the man outside and across the street. We walked about a block or so and stopped at a nondescript door with no signage whatsoever. He unlocked the door, turned on the lights, and motioned for me to come in, locking the door behind me. Much like the main store location, this room was filled with stacks and piles of books, some stacked over 6 feet high. I followed him to where he had stopped at one side of the room. He pointed to the shelves and said, "I think you'll find some interesting texts in here. Take whatever time you need." Then he disappeared into the rear of the building. <div>
<br /></div>
<div>
He was absolutely correct. There were a number of interesting texts. Fortunately, their occult collection was filed neatly inside a few bookcases rather than haphazardly piled around. It was an impressive collection: 18th century alchemical texts, older editions of Crowley, and quite a number late 19th century books on Spiritualism. Moreover, there were a few very interesting titles by Harry Price dating back to the early days of psychical research. They also had a copy of a particular book I've been seeking out for quite some time dating to the 1850s. Alas, their copy was in rather poor condition, so I had to let that one pass.</div>
<div>
<br /><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZC2p3QXW8sxHAzcs9oLvTNpyeOOJFzQkSgRaYdw-_3Gm0ZN9odvQdf2XV0Q72Gfzr_viWCLhKIYfoEWdg4XVT8K4AF4I4jUsqTWk9-bWVTcywWar-g1xvUpEndGHvjqpb1YJmwv9OiO3/s1600/Stan-Douglas_-MacLeod_s-Books_-Vancouver_-2006_-chromogenic-LightJet-print-mounted-on-Dibond.-Courtesy-of-the-artist-and-David-Zwirner_-New-York_-London_-and-Victoria-Miro_-London..jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZC2p3QXW8sxHAzcs9oLvTNpyeOOJFzQkSgRaYdw-_3Gm0ZN9odvQdf2XV0Q72Gfzr_viWCLhKIYfoEWdg4XVT8K4AF4I4jUsqTWk9-bWVTcywWar-g1xvUpEndGHvjqpb1YJmwv9OiO3/s1600/Stan-Douglas_-MacLeod_s-Books_-Vancouver_-2006_-chromogenic-LightJet-print-mounted-on-Dibond.-Courtesy-of-the-artist-and-David-Zwirner_-New-York_-London_-and-Victoria-Miro_-London..jpg" height="200" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Piles of books and narrow walkways at MacLeod's</td></tr>
</tbody></table>
<br />
<u>Third stop</u>: Victoria, BC<br />
<br />
Next I took the ferry over to Victoria, a truly beautiful city by the sea. My time there was a bit rushed and so, regrettably, I was unable to explore Victoria's three top bookstores: Russell Books, Bolan Books, and the stately Munro's Books. I found it surprising that palm trees can grow in Victoria, even at a latitude as far north as 48.4 degrees.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hyphenhyphenz2BAcDoVFcwqXjQwjgKFFwSbS5ZFKJNAz-4wsX3W9VEgzWzaLlqE3WrCxkg-J53y0fgrdiW6S2_XMZO9B7ILwq2wo6MYI5Rl3DqiBrG4CihqOqpKdDAT2EH4EVsD6x066U8c3MZr6B/s1600/100_0387.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hyphenhyphenz2BAcDoVFcwqXjQwjgKFFwSbS5ZFKJNAz-4wsX3W9VEgzWzaLlqE3WrCxkg-J53y0fgrdiW6S2_XMZO9B7ILwq2wo6MYI5Rl3DqiBrG4CihqOqpKdDAT2EH4EVsD6x066U8c3MZr6B/s1600/100_0387.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Victoria's Romanesque Revival Parliament Building</td></tr>
</tbody></table>
<br />
<br />
I was fortunate enough to catch the last day of the Viking exhibit at the Royal BC Museum. They had an astonishing number of relics on display (on loan from Sweden), including one of the very rare Ulfberht (+VLFBERHT+) Viking swords.<br />
<br />
I made sure I had time to explore Craigdarroch Castle while in Victoria. Carved into the wooden fireplace mantle in the castle's library are the words, "Reading Maketh a Full Man". I couldn't agree more.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8_U0eOJM7zTWLoMwk9r9qlX7dIw3k49PzP-5yecSzhfnwkfN9C00HNpBRb4o-FbO958SGrzTZ6LQJEv6RWvC0m1L16mgK4vWZr2J_L56KYeRTjMcnAuyApWPkm5nxi1U1cpnHXy944Gg5/s1600/100_0391.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8_U0eOJM7zTWLoMwk9r9qlX7dIw3k49PzP-5yecSzhfnwkfN9C00HNpBRb4o-FbO958SGrzTZ6LQJEv6RWvC0m1L16mgK4vWZr2J_L56KYeRTjMcnAuyApWPkm5nxi1U1cpnHXy944Gg5/s1600/100_0391.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Craigdarroch Castle</td></tr>
</tbody></table>
<br />
Later that afternoon I visited the Empress Hotel for high tea. The Empress Hotel, built in 1908, is a stunning example of Victorian extravagance. Ornate woodwork, stained glass, and marble abound throughout the hotel.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyEk5055Dq69wRBOcFSDcbyEehHTHFlXFoFglqjuaGclxxv3DBZKdmlcGJpkpd1Abk2d6HYNmpRKdWWKSAQODSSLt16e2PsMFW2aJelExkrBvsvjaS8ayrL6rN-7qcVMuJNzVKTO2xxW2/s1600/100_0388.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyEk5055Dq69wRBOcFSDcbyEehHTHFlXFoFglqjuaGclxxv3DBZKdmlcGJpkpd1Abk2d6HYNmpRKdWWKSAQODSSLt16e2PsMFW2aJelExkrBvsvjaS8ayrL6rN-7qcVMuJNzVKTO2xxW2/s1600/100_0388.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Empress Hotel. Victoria, BC.</td></tr>
</tbody></table>
</div>
<div>
<br /></div>
<div>
One of my favorite parts of the Empress hotel is the exotic <a href="http://www.fairmont.com/empress-victoria/dining/thebengallounge/">Bengal Lounge</a>. The Bengal Lounge is laid out in 19th century safari decor -- one of those places where one would imagine encountering a gentleman with a monocle and waxed mustache reminiscing on about how dreadfully hot it was in Sri Lanka in-between puffs of aromatic Black Cavendish smoke drawn from a meerschaum pipe.</div>
<div>
<br /><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDYIp0-ATUTfGVIATa3RBCDqqkLnFP5EyH00uVxp1hGlG7NEa29vVBqm8p8J4jAvXQOdryy0roo9TMxGOlksZJCqCEi69XudtDK0oAwVQnzBkDzeThEOcKw25yTEwGR7N0fGDxoCzaUXWK/s1600/bengal_lounge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDYIp0-ATUTfGVIATa3RBCDqqkLnFP5EyH00uVxp1hGlG7NEa29vVBqm8p8J4jAvXQOdryy0roo9TMxGOlksZJCqCEi69XudtDK0oAwVQnzBkDzeThEOcKw25yTEwGR7N0fGDxoCzaUXWK/s1600/bengal_lounge.jpg" height="211" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bengal Lounge. Image credit Victoriaspirits,com</td></tr>
</tbody></table>
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<br />
Fourth stop: Port Townsend, WA and the Olympic Peninsula<br />
<br />
Yet another ferry. This time to Washington state's Olympic Peninsula. The Olympic Peninsula is a very special place. I was able to explore its temperate rain forests, trek some of its mountains, discover secluded beaches, and marvel at its vast pine forests.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtfTyCEascUtAYRqW-Eu9Lk5E8r23BnJkDBG9kU1b_HwChadTdXMoI65rdyZRoIjsi4ecggQVzccLuVaciObPUkg0epjkZkrqZ_vKWK24qD9-4SFxjhYbi297dubwCFmzr52XnfUuaaPq/s1600/100_0481.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMtfTyCEascUtAYRqW-Eu9Lk5E8r23BnJkDBG9kU1b_HwChadTdXMoI65rdyZRoIjsi4ecggQVzccLuVaciObPUkg0epjkZkrqZ_vKWK24qD9-4SFxjhYbi297dubwCFmzr52XnfUuaaPq/s1600/100_0481.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View of the Pacific coastline at dusk.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGG0JSqw-IVTtdmOx4CkzdIQLQaaanzmvpxjO1JEvHoYO8CY0WdkIskY1kiBTviCmgRQDYY5L6p0pBxo7VcvT0hSUYG3f1REWNg0j_D3qRNIEZx6Ji27O2u85qfSUkPSpoOo4fbvGm4jPF/s1600/100_0463.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGG0JSqw-IVTtdmOx4CkzdIQLQaaanzmvpxjO1JEvHoYO8CY0WdkIskY1kiBTviCmgRQDYY5L6p0pBxo7VcvT0hSUYG3f1REWNg0j_D3qRNIEZx6Ji27O2u85qfSUkPSpoOo4fbvGm4jPF/s1600/100_0463.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Light creeping into the Olympic Peninsula's temperate rain forest.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3QTo_MTHHyl9mailS4XNA0hFik1Xmf09dtn_rk1mFdgrZlx725zMLIgaFXE1EShtl7UkdfFfDUpAZy4p1QHIfwVmyLlixENSH1V97atQv-Y88GRvCCaSP4mD7jht3yUhwqqobty0ASRK8/s1600/100_0428.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3QTo_MTHHyl9mailS4XNA0hFik1Xmf09dtn_rk1mFdgrZlx725zMLIgaFXE1EShtl7UkdfFfDUpAZy4p1QHIfwVmyLlixENSH1V97atQv-Y88GRvCCaSP4mD7jht3yUhwqqobty0ASRK8/s1600/100_0428.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View from atop Mt. Angeles.</td></tr>
</tbody></table>
<br />
I decided to spend a day and night in Port Townsend on the peninsula's northeast coast. Port Townsend's Historic District is a time capsule capturing what life was like for this maritime community a century ago. Today it is full of quaint shops, restaurants; and fortunately for me, bookstores. The best one was William James Bookseller. It had an impressive selection for a store of modest size, including display cases full of first editions and a large selection catered to local interests and Northwest history books. Another was a New Age bookstore called Phoenix Rising. Aside from Tibetan singing bowls, crystals, and incense they had a respectable amount of new and in-print esoteric books.<br />
<br />
One of my favorite places in Port Townsend is a local taproom called <a href="http://www.ptpourhouse.com/">The Pourhouse</a>, a favorite watering hole for locals apparently. Initially I had a difficult time finding it. It's very well hidden. I walked right past its door twice before I figured out where it was. It has an incredible number of craft-beers available both on tap or by the bottle. The Pourhouse's seating area opens up right to the beach, an extremely picturesque spot. It's also very dog friendly. I counted at least six large dog lounging around the establishment. One of my favorite beers was a sour red ale (served in a brandy snifter) called Flanders Red from Destihl Brewing (6.1% ABV). It has a heady and fruity aroma and packs a sour punch -- a real delight. Also on tap was a rhubarb cider that was equally amazing. It was a good thing I did not drive there.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_kUPX-qbYVrAbmDAXUlbXjs8xO09LzlP72A58_hG69GXDBX0dqRYjDjWaIXntMgbgNG2bM8YS-p057zo0oIW2o_y6aAyC-RSzo3iWN25249pbksgM0g3RULRJyuTMqrn5qY4j6DX9QD9/s1600/pourhouse.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_kUPX-qbYVrAbmDAXUlbXjs8xO09LzlP72A58_hG69GXDBX0dqRYjDjWaIXntMgbgNG2bM8YS-p057zo0oIW2o_y6aAyC-RSzo3iWN25249pbksgM0g3RULRJyuTMqrn5qY4j6DX9QD9/s1600/pourhouse.jpg" height="239" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Pourhouse taproom.</td></tr>
</tbody></table>
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<br />
<u>Fifth stop</u>: Portland, OR<br />
<br />
My stay in Portland was very brief yet very enjoyable. I had one main destination: Powell's Bookstore. Powell's is the largest bookstore in the world. It takes up an entire city block in downtown Portland. The bookstore occupies several floors and has 1.6 acres of retail space. Unbelievable. It truly has to be seen to be believed. It is open every day from 9 a.m. - 11 p.m. The place is so big that the staff at Powell's hand customers maps of the store upon entering.<br />
<br />
I killed a whole afternoon at Powell's. One of the more interesting sections of the store is their Rare Books room. The rare books are kept in a separate climate-controlled room. They had a moderately impressive selection, but not as impressive as MacLeod's rare books. I suspect their stock turns over fairly quickly. I picked up a number of books, nothing too exotic. One of the more unusual of these was a peculiar book on scarecrow lore, <i>The Scarecrow: Fact and Fable</i> by Peter Haining.<br />
<br />
It deserves mention that while I was there Chuck Palahniuk of <i>Fight Club</i> fame was there for a book signing.<br />
<br />
For anyone traveling to Portland, Powell's Books is a must-see.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8PFt5z2fr8K9BNcedNdNCWPLW6t_561Hoo6hLeJRUbKvBsrZPZitdSdM2n0hpoecoPEQ62E2Ikg5nhmJrHbZT36lZ4m2EhtYMecE1pFhyphenhyphenbg0bmOjY17E1UviCCwBxqBlJCgmU3TGao3xu/s1600/powells-city-of-books-jparadisi-2010.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8PFt5z2fr8K9BNcedNdNCWPLW6t_561Hoo6hLeJRUbKvBsrZPZitdSdM2n0hpoecoPEQ62E2Ikg5nhmJrHbZT36lZ4m2EhtYMecE1pFhyphenhyphenbg0bmOjY17E1UviCCwBxqBlJCgmU3TGao3xu/s1600/powells-city-of-books-jparadisi-2010.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Powell's City of Books. Image credit: JParadisi.</td></tr>
</tbody></table>
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<u>Sixth stop</u>: Back to Seattle<br />
<br />
After brief forays around Olympia, WA and Tacoma, WA it was time to head back to Seattle to catch the long (but relaxing) train ride home. I must add that the people I met throughout my journey were extremely polite and pleasant (far more polite than my home city's inhabitants). People in Oregon, Washington, and British Columbia are very charming, laid back, and welcoming people. I already look forward to a return trip.<br />
<br />
B. Balkan</div>
</div>
</div>
Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com0tag:blogger.com,1999:blog-1351715704059341447.post-5080905956283901652014-10-02T19:52:00.000-07:002014-10-04T15:53:14.887-07:00Arcanum Bestiarum by Robert Fitzgerald<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxWPBZ7Plh1osmMGBDNEigi-sE1f5D5Rc9LpYDtMUJh66APwK_qLBqaCXDsLaVzSAlShmbMIblWtCHf97UCLevo9QQQUaHvON61TzxoFSlbY02wy0tXd2IVdo_mHrI8O5S_xO9lghbzcl/s1600/100_0299.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxWPBZ7Plh1osmMGBDNEigi-sE1f5D5Rc9LpYDtMUJh66APwK_qLBqaCXDsLaVzSAlShmbMIblWtCHf97UCLevo9QQQUaHvON61TzxoFSlbY02wy0tXd2IVdo_mHrI8O5S_xO9lghbzcl/s1600/100_0299.JPG" height="240" width="320" /></a></div>
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<a href="http://www.threehandspress.com/index.php">Three Hands Press</a>. 2012. 245 pages. Octavo. Printed in red and black with black and white woodcuts.<br />
<br />
Available in two editions:<br />
<br />
<b>Standard Edition:</b> Cloth hardcover with full color dust jacket. Limited to 1400 copies.<br />
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<b>Deluxe Edition:</b> Full brown skiver. Limited to 49 copies. Sold out at publisher.<br />
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<i>Arcanum Bestiarum: Of the Subtil and Occult Virtues of Divers Beasts</i> is a remarkable oddity paying homage to medieval bestiaries of yore. The book's covers are the gates to an exotic menagerie where each animal has a unique story to tell. It is in such tales that we may glean meaningful symbolism relevant to our lives, or we may gain uncommon wisdom by seeing the world from an avian, reptilian, mammalian, or insectile perspective.<br />
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Mr. Fitzgerald makes an important comment about the book in the Preface, stating,<br />
<blockquote class="tr_bq">
"This work concerns the occult or hidden virtues, attributes, and origins of specific animals presently abiding in the Zoosphere, along with explorations into their etymological and mythological roots. Its structure and design is based on bestiaries of the past, yet differs from them in that it does not seek to solely examine or transpose the virtues of animals in relation to any resonant principles in Man, except those relations deriving from an Ancestral or Atavistic source. Instead it seeks to discover them as they exist primarily in their unique and essential natures."</blockquote>
<i>Arcanum Bestiarum</i> (meaning: the Secret Menagerie of Animals) explores the virtues and correspondences of 46 animals. Ten of these are mythological creatures: Centaur, Basilisk, Dragon, and Monoceros (Unicorn), etc. The rest are mostly animals native to the northern hemisphere's temperate zone and familiar to those living in Europe and North America. Sorry, no Giraffes, Orangutans, or Kangaroos. It should also be noted that there is no marine life included. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5IF0WB5cjrPMGLCoaOlQbJA9aSL67Uh_aRBLfLebmBmx65iwiEkiAyigGWU8g8feeWUrOf226Trd_ZRoxBNqlMRV_gxNOtZpCBF_2FRoGp-wRjjbicxJvHlSmXdijKlfC3ovbS_SpKCi/s1600/100_0334.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5IF0WB5cjrPMGLCoaOlQbJA9aSL67Uh_aRBLfLebmBmx65iwiEkiAyigGWU8g8feeWUrOf226Trd_ZRoxBNqlMRV_gxNOtZpCBF_2FRoGp-wRjjbicxJvHlSmXdijKlfC3ovbS_SpKCi/s1600/100_0334.JPG" height="320" width="240" /></a></blockquote>
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Each animal includes a list of correspondences. Allow me to use the cunning Fox as an example:<br />
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<b>FOX</b><br />
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<u>Atavistic Power</u>: Concealment <br />
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<u>Magical Virtue</u>: Cunning <br />
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<u>Constellation</u>: Vulpecula<br />
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<u>Herb</u>: Braken<br />
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<u>Divine Patron</u>: Inari <br />
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<u>Mineral:</u> Amber, Vulpinite<br />
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<u>Estate of the Soul</u>: Exile <br />
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<u>Tarot Key</u>: Fool<br />
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<u>Chemical Element</u>: Copper <br />
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<u>Warfare Tactic</u>: Stealth<br />
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<u>Alchemical Process</u>: Purgation<br />
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<u>Body Par</u>t: Tail <br />
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<u>Error</u>: Passive Aggressive <br />
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<u>Planet</u>: Mercury <br />
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<u>Emblems</u>: Hedge <br />
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<u>Saint</u>: Cain<br />
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I was pleased to see that my own personal "Spirit Animal" was included in the book. The only clue I shall offer is that it has "wings". The author's comments mirrored my own personal experiences, and corroborated unique items of wisdom I've gained through close spiritual affiliation with this animal over many years.<br />
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There are a number of ways to make connections with animal spirits, whether they be spirit guides, totem animals, or familiars. The methods can vary greatly and depend on one's background, tradition, and personal belief system. Some, like the method I used, are remarkably simple. Sometimes all you need to do is ask. Years ago when I was told what my spirit animal was I was very surprised; not regarding what animal it was, rather, I was surprised I hadn't guessed it before. The clues were all around me; they had been my whole life. I highly recommend making contact. In a simplified/reductionist way one could look at it as a zoomorphic Myers-Briggs test.<br />
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Whenever possible, animals (like the viper and wolf) include relevant magic squares (mainly from <i>The Book of the Sacred Magic of Abramelin the Mage</i>). There is an impressive amount of superstition and folklore written about each animal, including augurial signs and their meaning.<br />
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An old friend of mine, Mr. Kit Trodahl, a practitioner of Totemic Shamanism, also owns a copy of this book. I asked him if he would like to share his thoughts on it. He agreed. Considering this is his area of expertise (not mine), I felt he was likely to have unique insight on this subject matter. <br />
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<b><i>Balkan: Did you find the book useful in your practice?</i></b><br />
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<b>Trodahl:</b> I did, but perhaps not in the manner in which you might assume. Let me preface this by saying the book was excellent with its presentation; the history and descriptions of the beastiarum were exemplary; and the woodcuts gorgeous. Mr. Fitzgerald obviously took great pains to research and document the animals he showcased, and he drew compelling links to alchemy, therianthropy, sorcery and even human/animal morphic fields. To further enhance this, each beast entry is also backed up by a superb listing of “Correspondences” that list a myriad of properties each animal possesses, ranging from sympathetic rocks and chemicals, to Tarot keys, avatars, and even combat tactics! The sheer amount of information covers almost all the bases of one’s potential options in terms of magick or pathworking, and the book is equally compatible (and comfortable) with both High and Low Magick pursuits.</blockquote>
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However, where I feel this book is particularly useful is in its ability to present itself as a legitimate and elevated resource of information. Compared to the more mainstream and dominant disciplines, the information for totemic shamanism, therianism, shape-shifting via guising, or any other zoomorphic field is fairly small and limited. Aside from dedicated anthropological texts, the smattering of useful information has been few and far between, and as a consequence, most mainstream “information” is found on amateur message boards or in New Age books filled with erroneous facts, revisionist history, or generic pre-packaged anecdotes. With no disrespect intended to other authors in the field like Ted Andrews, Lupa Greenwolf, Rosalyn Greene, or Yasmine Galenorm, nothing they have can offer the same cogent power, authenticity, or scale of Mr. Fitzgerald’s work. He offers the credibility of an articulate and experienced practitioner, coupled with the collegiate oversight of a master of the information he presents. The <i>Arcanum Beastiarum</i> is not a token intro book for the enthusiastic dabbler; it’s an established system which will enhance the pathworking of those already versed in the subject matter who are looking for more ways to explore it.</blockquote>
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<b>Balkan:</b> <i><b>Was your spirit animal, familiar, or totem animal addressed in this book?</b></i><br />
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<b>Trodahl:</b> To an extent yes, but that is a rather complicated question to answer. In my pathworking, I use an exclusively feline current. However, in addition to that, I also narrow my pursuits down to specific totemic or theriomorphic aspects that only specific individual felines can provide. So while the book does feature the lion and cat---which I use, it doesn't have the leopard, lynx, or cougar. But to be fair, this book also has dozens of other animals to deal with.</blockquote>
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<img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAzf7dOtV8r22ObFeHvwaY6TOy4diYRZG-qaobyd3aCCeeaazxJlBLXfSMKPAsbnv6-d1JgDb5b3xQrdWA8Q5jKpHYKJPnbl_sQfZVim1VfdCN9wnrWntx1U1SGrSosNpoBu77Er24UheP/s1600/100_0314.JPG" width="320" /></div>
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Balkan: Any other comments you care to share, my friend?</b></i><br />
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<b>Trodahl:</b> There are two things I found noteworthy. The first is Mr. Fitzgerald’s reference to French author and folklorist, Claude Lecouteux. For those who are not familiar with Mr. Lecouteux’s works, his book <i>Witches, Werewolves and Fairies: Shapeshifters and Astral Doubles in the Middle Ages</i> inadvertently created an essentially new post-modern form of Therianism. In the book, we are given details on Germanic and Scandinavian myths and legends that propose a theory and practice in which a person has the ability to detach an astral double (the <i>hamr</i>)---a somewhat antonymous copy of the person, but one that is also bound to the “command self”. Among other things, the astral double can become an animal or werecreature. When I first read the book back in 2004, I had wondered if anyone else had picked up on the potential that this offered a new magickal system of exploration, so it was rewarding to see it was not lost on Mr. Fitzgerald.</blockquote>
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The second thing I found interesting, was the use of mythological creatures in <i>Arcanum Beastiarum</i>. This was actually a bold decision. When creating a book based on beasts and their occult traits, one has to weigh fact and fiction. Existing animals and their explanations have certain expectations to be credible, but at least they have a leg up over mythological creatures. An owl or stag are existing animals you can tap into to form a usable pre-existing current. What is also important is --- since they are real animals --- is that when they live and eventually die, they release energy, and those molecules that are diffused into the environment coalesce and later form the building blocks of new life. That is a real biological aspect that can be verified. But mythological beasts don’t have that luxury. When we tap into creatures of fiction, the belief in the dragon, basilisk, or phoenix is based on the same concept of blind faith in religion: You can believe, but you can’t prove. Where are the bones, ambered remains, or DNA that links us to a primal ancestor? How can we possibly use a mythological creature successfully? At least you can prove a cat or a dog is real by pointing to nature. You can’t prove that with fictional monsters. Plus there’s a big difference between harnessing a usable current from a mammal still waking the planet, and trying to tap into something that was only created in a story.</blockquote>
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Where Mr. Fitzgerald shines, is, he offers an opt-out that does make mythological creatures legitimate and “provable”, in so far as we can “prove” anything esoteric or ethereal. Practitioners who use real animals can be a bit sloppier in their core beliefs because they obviously have the luxury of having a real animal to fall back on. Those who work with the mythological must work a little harder, and that’s done by each individual or group creating a usable meme to access. Much like using supernatural forces for sorcery or even tapping into other systems that call upon angelic or daemonic beings, if one creates the mental/spiritual/psychic infrastructure; and taps into the shared history of it in primitive cultures as a demonstration of mental proof instead of physical proof, one can then build upon that as a real framework to bring about a new current they can tap into. And what is that? You guessed it: <i>magick</i>.</blockquote>
<blockquote class="tr_bq">
So what does that all mean? It means that if someone walked up to me and said they were a real “otherkin” dragon; I’d probably roll my eyes and walk away thinking they were an imbecile. However, if a person walked up to me and said they were tapping into a draconic current, and if they articulated the ancient history and folklore of dragons in most every culture on Earth; reinforced the shared belief of dragon imagery---especially in Europe and Asia as being beacons of mythological awareness in the mass consciousness; and if they used that collective timeline of thousands of years of cryptid history to reinforce it as an theriomorphic phenotype, I could accept that as a real current because even if the practitioner lacked physical evidence, they didn’t lack the spiritual or mental evidence. And that’s exactly the foundation Mr. Fitzgerald offers with his mythological creatures.</blockquote>
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<b><i>Balkan: Thank you, Mr. Trodahl.</i></b><br />
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<b>Trodahl:</b> My pleasure.</blockquote>
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Now for the book itself...</div>
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For this review I shall be commenting on the Deluxe Edition of <i>Arcanum Bestiarum </i>bound in full brown antique skiver. For those unfamiliar with skiver, it is a very thin and soft leather made of the grain side of split sheepskin. It was a popular leather for bookbinding in the 19th century, and is very soft and smooth. The downside is that skiver tends to scuff and will dent easily. The leather has an interesting and pleasant aroma. Call me crazy, but it has a scent of what I can only describe as <i>paste and toast</i>. </div>
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The cover has a blind stamped emblem of a goose's foot. The three-toed shape resembles the Elder Futhark rune "Algiz" (also "Elhaz"), meaning "Elk", and is considered a defensive ward of protection.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXSKAytSaA0kOhaizk5yqgQmN2MdaAw8lZmDCnLiyBZ7ATmj6AztzAq4tuwBtrTTLBvK3UKQjyOpzuh7EzOtocr2WgpXriHYvEjdbo5P83McjNVfKbsUMfFIa2Dbg2R9S6irwXnlV32D1/s1600/100_0353.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXSKAytSaA0kOhaizk5yqgQmN2MdaAw8lZmDCnLiyBZ7ATmj6AztzAq4tuwBtrTTLBvK3UKQjyOpzuh7EzOtocr2WgpXriHYvEjdbo5P83McjNVfKbsUMfFIa2Dbg2R9S6irwXnlV32D1/s1600/100_0353.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Algiz" (also "Elhaz") rune</td></tr>
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The book has endpapers marbled in an array of tan, copper, gold, russet, and black. The pattern reminds me of the plumage of a Pheasant. </div>
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<tr><td class="tr-caption" style="text-align: center;">Pheasant plumage. Image credit Photoree.com</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Endpapers</td></tr>
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The spine has three raised bands. The title is stamped in copper in a calligraphic font. Black head/tail bands and black ribbon place marker. Pages are cream and of very heavy weight. This is presumably to prevent the heavy, dark, and high-contrast illustrations from bleeding through and creating "ghosting" on the reverse pages. It also lends the book a very sturdy heft and feel.</div>
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Keeping with the Medieval theme, there are 55 spectacular woodcuts throughout the book by <a href="http://xylographilia.com/">Liv Rainey-Smith</a>. Her artwork is very clever and highly symbolic. She is able to expertly dance the fine line between grim and whimsical that few can pull off, putting her alongside great illustrators like Edward Gorey, Lee Brown Coye, and Stephan Gammell. One of my favorites is her portrait of the owl. A closer look will reveal a grinning skull hidden within the owl's feathers -- an ingenious illusion (see below). This is symbolic of the screech owl's reputation as an ill portent. Furthermore, common folk belief states the owl's psychopompic screech is an omen of death. </div>
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Other pieces contain alchemical symbolism and processes. Her Pelican illustration symbolizes the pelican flask, a circulatory distillation device used in alchemy. It is also an important Rosicrucian symbol. The pelican pecking its own breast, bleeding to feed its young, symbolizes self-sacrifice and philanthropy. Many Christians feel the pelican symbolizes Christ, giving his life for the sake of others.<br />
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"He that eateth my flesh, and drinketh my blood, dwelleth in me, and I in him." -- John 6:56 (KJV)</blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieuLvlhDxwsXvKQW5FxaHBhP-if7dJropF4kLpkuu-iN6jjl1YcixYqNv4h9oSVLBqcwjpE_D25rx1TSv3gAHX4JuZuA56KfAHuoGs9aN28Pv_tjH4iBXdS3kjMxPGo9Oe0g3-XNCRStYS/s1600/pelican-pics7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieuLvlhDxwsXvKQW5FxaHBhP-if7dJropF4kLpkuu-iN6jjl1YcixYqNv4h9oSVLBqcwjpE_D25rx1TSv3gAHX4JuZuA56KfAHuoGs9aN28Pv_tjH4iBXdS3kjMxPGo9Oe0g3-XNCRStYS/s1600/pelican-pics7.jpg" height="208" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Rosicrucian frieze.</td></tr>
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The Deluxe edition of <i>Arcanum Bestiarum</i> comes with a limited edition (49), hand-numbered, woodblock print titled, "Animalia". The print is protected by hand-made tissue-like paper infused with dried herbs or bits of a dried plant. I would be curious to know what plant it is and if there is a magical intent behind it.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkjY5CzvCHfaYGOVqt5mxROpyVZ2paZte9GtPLnLime-s4xaMIPvJA-P5Fy6IRdi6Uz1hSCARb0x_O5jxS03eJLFrORmSq958On0XDy9E91MMvH-y_Voyp7ESzeeddqpJVh1SmlIXENVX/s1600/100_0329.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkjY5CzvCHfaYGOVqt5mxROpyVZ2paZte9GtPLnLime-s4xaMIPvJA-P5Fy6IRdi6Uz1hSCARb0x_O5jxS03eJLFrORmSq958On0XDy9E91MMvH-y_Voyp7ESzeeddqpJVh1SmlIXENVX/s1600/100_0329.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Animalia"</td></tr>
</tbody></table>
<i>Arcanum Bestiarum</i> is an incredibly useful work for those looking to work with animal spirits either directly or on a purely symbolic level. Those looking for a beastly counterpart to Robert Simmons and Naisha Ahsian's amazingly comprehensive mineral book, <i>The Book of Stones, </i>may want to look elsewhere; there is nothing slick or modern about this book. With its antiqued skiver binding (or the parchment-like dust jacket of the standard edition) <i>Arcanum Bestiarum</i> is a lovely tribute to earlier times. This is a useful compendium of correspondences that every magician should have on their shelf. Liv Rainey-Smith's beguiling woodcuts nearly dance off the page. These, combined with Gail Coppock's expert calligraphy, make the reader feel as though they've discovered an antique "Book of Wonders". This is a book to be cherished, and is likely destined to become a classic on the subject.<br />
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Thanks again to my good friend, Kit Trodahl, for sharing his experiences with the book.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6iaQIZNteENgjTapeI_FmHWW0Rw23IO30lEHa6wc_-zGqLW6EFl6TWaUlxScG1ckC8HYsLI2It0vCvfCeoEdNNZhlXmQoCjip8ZUYpvl2fwqF9t0gr8opqWqbhLYBwXc4Hegd4ilV_I4/s1600/100_0324.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6iaQIZNteENgjTapeI_FmHWW0Rw23IO30lEHa6wc_-zGqLW6EFl6TWaUlxScG1ckC8HYsLI2It0vCvfCeoEdNNZhlXmQoCjip8ZUYpvl2fwqF9t0gr8opqWqbhLYBwXc4Hegd4ilV_I4/s1600/100_0324.JPG" height="320" width="240" /></a></div>
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*A note on the reader's poll: <i>What is the most important esoteric book (or series) of the 20th Century? </i><br />
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Over 160 readers voted on this (very unscientific) poll. It was very close. Andrew Chumbley's <i>Azoetia</i> received 20% of the votes. However, Crowley's <i>Magick: Liber ABA</i> (<i>Book Four</i>) received 21%, making it the narrow winner.<br />
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Congrats to The Beast 666, and congrats to the late Mr. Chumbley for a very close second.
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This month's book review will be a little break from my usual structure. In this review I will explore <u>two</u> 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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUdvkvh-A3SHZ04pc_E4jiHRK-WuNRx-xmt-cixTcD74LIBkhIP28KRCeqrkVo4t9tAJJUzQw_OTXtGKZKgjirG8uFpIuksXJo4eJhyYzVkKoi9I2S9rRZkHm7sTfVmRm9TAtw49FLGw9/s1600/IMG_6539.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUdvkvh-A3SHZ04pc_E4jiHRK-WuNRx-xmt-cixTcD74LIBkhIP28KRCeqrkVo4t9tAJJUzQw_OTXtGKZKgjirG8uFpIuksXJo4eJhyYzVkKoi9I2S9rRZkHm7sTfVmRm9TAtw49FLGw9/s1600/IMG_6539.JPG" height="240" width="320" /></a></div>
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<i><a href="http://www.weiserantiquarian.com/cgi-bin/wab455/47594.html">Epoch: The Esotericon and Portals of Chaos</a></i> by Peter J. Carroll &Matt Kaybryn<br />
Arcanorium College. 2014. 216 pages. Landscape Quarto. Full color with many full color illustrations. Includes 54 over-sized, full color, "cartomagical" cards.<br />
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Available in a single edition.<br />
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<b>Trade hardback</b>: No limitation stated, however the first 100 copies are signed by the author and artist. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8-wo5Zj_taoenpvOIIPDUZkcbYWoXTCGHdWvfpw4t5H2jJxiNqbKyotZloITrkM2-deKywmalbBQBvnUxWFGDvjKnN2S7-dw7dnXKZkhrczncy_8EKxp30nOxbhB33207rYVVRVDe_xVd/s1600/IMG_6530.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8-wo5Zj_taoenpvOIIPDUZkcbYWoXTCGHdWvfpw4t5H2jJxiNqbKyotZloITrkM2-deKywmalbBQBvnUxWFGDvjKnN2S7-dw7dnXKZkhrczncy_8EKxp30nOxbhB33207rYVVRVDe_xVd/s1600/IMG_6530.JPG" height="320" width="240" /></a></div>
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<i>Anthology of Sorcery: Book 1</i> by various (no editor stated)<br />
BecomeALviningGod. 2014. 353 pages. Octavo. Black & white illustrations.<br />
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Available in two editions.<br />
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<b>Standard Cloth Edition</b>: Limited to 400 copies. Sold out at publisher<br />
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<b>Deluxe Edition</b>: Full leather. Limited to 100 copies. Sold out at publisher.<br />
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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... <i>Is the future already here?</i> I have discussed some of these themes a number of times before, including <a href="http://balkansarcanebindings.blogspot.com/2013/12/the-future-of-esoteric-publishing.html">here</a>. 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." -- <i>The Economist, December 4, 2003 </i><br />
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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.<br />
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"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</blockquote>
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?<br />
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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 <i>now</i> -- 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.<br />
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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 <i>better</i>. Somehow I doubt I will have the same experience reading a .pdf of Glanvill's <i>Saducismus Triumphatus</i> 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.<br />
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So in the spirit of looking forward and a rapidly changing world, I would like to look at two very contemporary magic books. <i>Epoch: The Esotericon and Portals of Chaos</i> is a Chaos Magic book (a post-modern current if there ever was one) while <i>Anthology of Sorcery: Book 1 </i>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.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTioOiWbTba-pLLxCLVTk5cJSpEhHVCXXWeOwFGtpifhMoLnhtVxWgskIliLXEr_AFDPsknjhsvYEFq_SHBmo1qWlyuoK7gmwtcq_cboxehRyarZf0fPOYehmRa8I0-4GwHl5q6g63v8Td/s1600/dystopian-logos.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTioOiWbTba-pLLxCLVTk5cJSpEhHVCXXWeOwFGtpifhMoLnhtVxWgskIliLXEr_AFDPsknjhsvYEFq_SHBmo1qWlyuoK7gmwtcq_cboxehRyarZf0fPOYehmRa8I0-4GwHl5q6g63v8Td/s1600/dystopian-logos.jpg" height="320" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dystopian Corporate Logos. Image Credit: catchwordbranding.com</td></tr>
</tbody></table>
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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". <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7k2VQv87MNFwfCcMsEALP4QkPXImhGdoxvWv0um1Yxmgyn7JAKEjw7ABKtsLB-2KojXmjG9YRmaa8y_Ol9qFB4otuILr0mv7sA93-XhoMTO_TuXMGH8Kls_E_BnXQMJ13f5eF6A-hZFJo/s1600/proctor.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7k2VQv87MNFwfCcMsEALP4QkPXImhGdoxvWv0um1Yxmgyn7JAKEjw7ABKtsLB-2KojXmjG9YRmaa8y_Ol9qFB4otuILr0mv7sA93-XhoMTO_TuXMGH8Kls_E_BnXQMJ13f5eF6A-hZFJo/s1600/proctor.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Remember the "occult scare" created by this logo?<br />
Image credit: Proctor & Gamble</td></tr>
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When I received <i>Anthology of Sorcery: Book 1 </i>from BecomeALivingGod (<--- surprisingly no ™) I recognized immediately that I had received an unusual beast. In my hands was a black cardboard box that read, "BecomeALiving<span style="color: red;">God: </span>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 BecomeALiving<span style="color: red;">God</span> 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.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrrCSOBhlydLmkpOHQtw49RfnX7FI4qZBrdkILrwLL7mdeIvp0N6iG0I3PPTu1Uixe7yw_EmnZL61YSlF4EYIexaWYt_1_YNpurEKmGJmp2M2kA-nsQkkj0jiz_61ApkWX5RctYyZv1qi/s1600/2.5.1_PurpleBag_hero_656x416.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrrCSOBhlydLmkpOHQtw49RfnX7FI4qZBrdkILrwLL7mdeIvp0N6iG0I3PPTu1Uixe7yw_EmnZL61YSlF4EYIexaWYt_1_YNpurEKmGJmp2M2kA-nsQkkj0jiz_61ApkWX5RctYyZv1qi/s1600/2.5.1_PurpleBag_hero_656x416.jpg" height="201" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image credit: CrownRoyal.com</td></tr>
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Inside the bag was a black book. Not just black, <i>all black. </i>With its <u>black</u> boards, <u>black</u> endpapers, <u>black</u> ribbon marker, <u>black</u> head/tail
bands, and<em> </em><u>blackened</u> edges, <em>Anthology of Sorcery: Book 1</em> 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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVJQassy02VO8AF3uccVqHZuuo0tia_YIyiMcAS-JSZ2VkqcjgAYQ9HbtbkqzWLCfJjVJaKWVZZr-R3QFmsIBz_uWhYFaqyoZ1ri20jfT522KZebVZDTIN-1w8DnY4vt1VhE-WVRjtzVid/s1600/IMG_6555.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVJQassy02VO8AF3uccVqHZuuo0tia_YIyiMcAS-JSZ2VkqcjgAYQ9HbtbkqzWLCfJjVJaKWVZZr-R3QFmsIBz_uWhYFaqyoZ1ri20jfT522KZebVZDTIN-1w8DnY4vt1VhE-WVRjtzVid/s1600/IMG_6555.JPG" height="240" width="320" /></a></div>
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I realize there are lot of strong opinions out there regarding the <a href="http://www.becomealivinggod.com/">BecomeALiving</a><span style="color: red;"><a href="http://www.becomealivinggod.com/">God</a> </span>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 BecomeALiving<span style="color: red;">God </span>and Mr. Koetting on his phenomenal blog, Talking Ritual Magick, <a href="http://fraterbarrabbas.blogspot.com/2014/07/dark-side-of-madison-avenue.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+TalkingAboutRitualMagick+%28Talking+About+Ritual+Magick%29">here</a>.<br />
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Overall <i>Anthology of Sorcery: Book 1 </i>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.<br />
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<tr><td class="tr-caption" style="text-align: center;">One can see the sheen of the paper in this photo.</td></tr>
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In complete contrast to the Stygian <i>Anthology of Sorcery: Book 1 </i>(for better or worse) we have specimen #2, <i>Epoch: The Esotericon and Portals of Chaos </i>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 <i>The Paradigmal Pirate</i>,.. 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.<br />
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<i>Epoch: The Esotericon and Portals of Chaos </i>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 -- <a href="http://www.esotericon.org/">here</a>. Carroll also includes his 21st century interpretation of the Qabalah, what he calls the <i>Chaobala</i>. 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.<br />
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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, <i>for now</i>. 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.<br />
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Bucking the trend, the publisher, Arcanorium College, decided to resist the tremendous urge to sell on Amazon and instead chose to sell exclusively through <a href="http://www.weiserantiquarian.com/">Weiser-Antiquarian Books</a>. 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.<br />
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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.<br />
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com2tag:blogger.com,1999:blog-1351715704059341447.post-43919347238496108252014-07-06T09:19:00.001-07:002014-10-04T15:52:43.163-07:00READERS' POLL: What is the most important esoteric/magic book of the 20th century?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Image credit: Idea Venue</span></td></tr>
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Dear readers,<br />
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Now that we are a decade or so removed from the 20th century, I began to wonder, <i>what is the most important esoteric/magic book of the 20th century?</i> 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, <i>What book has changed the world?</i> I thought I would let my readers decide.<br />
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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 <u>and</u> 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 <i>Book Four</i> also contains <i>Liber AL vel Legis</i> (<i>The</i> <i>Book of the Law)</i>.<br />
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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.<br />
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<u>The choices are</u>:<br />
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<ul>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">Magick: Liber ABA (Book Four) -- Aleister Crowley</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">The Secret Teachings of All Ages -- Manly P. Hall</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">Liber Null & Psychonaut -- Peter Carroll</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">The Book of Pleasure -- Austin Osman Spare</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">Drawing Down the Moon -- Margot Adler</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">The Complete Golden Dawn System of Magic -- Israel Regardie</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">The Typhonian Trilogies -- Kenneth Grant</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">The Kybalion -- The Three Initiates (William Walker Atkinson)</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">Azoetia -- Andrew Chumbley</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">Hoodoo - Conjuration - Witchcraft - Rootwork by H. M. Hyatt</span></li>
<li><span style="color: #312b25; font-family: inherit; white-space: nowrap;">Other?</span></li>
</ul>
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<span style="color: #312b25;"><span style="white-space: nowrap;"><br /></span></span></div>
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<span style="color: #312b25;"><span style="white-space: nowrap;">*** Edit 10/4/2014</span></span></div>
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<span style="color: #312b25;"><span style="white-space: nowrap;"><br /></span></span></div>
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<span style="color: #312b25;"><span style="white-space: nowrap;">The results of the poll have been finalized. </span></span></div>
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Over 160 readers voted on this (very unscientific) poll. It was very close. Andrew Chumbley's <i>Azoetia</i> received 20% of the votes. However, Crowley's <i>Magick: Liber ABA</i> (<i>Book Four</i>) received 21%, making it the narrow winner.<br />
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So, <i>What is the most important esoteric book (or series) of the 20th Century? </i><br />
<i><br /></i>
According to my readers it is Crowley's <i>Magick: Liber ABA</i> (<i>Book Four</i>).<br />
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Congrats to The Beast 666 and congrats to the late Mr. Chumbley for a very close second.Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com17tag:blogger.com,1999:blog-1351715704059341447.post-59495677100222760522014-06-29T11:50:00.000-07:002014-06-30T21:14:46.437-07:00Obeah: A Sorcerous Ossuary by Nicholaj de Mattos Frisvold<div class="separator" style="clear: both; text-align: center;">
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<blockquote class="tr_bq" style="text-align: center;">
"I came down on a lightning bolt<br />
Nine months in my mama's belly<br />
When I was born, the midwife scream and shout<br />
I had fire and brimstone coming out of my mouth<br />
I'm Exuma, I'm the Obeah man"</blockquote>
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-- Exuma "Exuma the Obeah Man"</div>
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The white witch of Rose Hall,</div>
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A beauty above all.</div>
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The slaves out in the fields</div>
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Had brothers who were killed.</div>
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This Obeah woman made the spirits rise,</div>
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Destroying the unwanted with her eyes.</div>
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-- Coven "The White Witch of Rose Hall"</div>
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<a href="http://www.hadeanpress.com/">Hadean Press</a>. 2013. 107 pages. Duodecimo (Twelvemo). Full color illustration + black & white illustrations.<br />
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Available in three editions:<br />
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<b>Digital e-book</b><br />
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<b>Trade Hardback</b>: No limitation stated.<br />
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<b>Limited Edition</b>: Limited to 21 copies bound in full sheepskin.<br />
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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, <i>Obeah: A Sorcerous Ossuary</i>, 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. <br />
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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 <a href="http://moj.gov.jm/sites/default/files/laws/Obeah%20Act.pdf">Obeah Act</a> of 1898, though it hasn't been enforced since the 1960s. For more on this subject I recommend <i><a href="http://www.uwipress.com/node/630">Enacting Power: The Criminalization of Obeah in the Anglophone Caribbean</a></i>, 1760–2011 by Jerome S. Handler and Kenneth M. Bilby.<br />
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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,<br />
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"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." </blockquote>
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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.<br />
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<tr><td class="tr-caption" style="text-align: center;">The raised seal of Anansi in copper.</td></tr>
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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.<br />
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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,<br />
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"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."</blockquote>
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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, <i>Navajo Witchcraft</i>. <br />
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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 <i>The Book of Black Magic</i>, <i>The Lemegeton</i>, <i>Grimoire of Pope Honorius</i>, <i>Grimorium Verum</i>, and de Laurence's <i>The Great Book of Magical Art</i>. 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.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Sasabonsam - Image credit: The Museum of Witchcraft</span></td></tr>
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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).<br />
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The Limited Edition contains an additional chapter titled, "The Temporal Obiya" not found in the trade edition.<br />
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Now for the physical book...<br />
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For this review I shall review the Limited Edition of <i>Obeah: A Sorcerous Ossuary</i>. 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.<br />
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This book has something very unique and special that makes the Limited Edition of <i>Obeah: A Sorcerous Ossuary</i> 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.<br />
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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...<br />
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<tr><td class="tr-caption" style="text-align: center;">"Lord of the Forest -- Lord of the Dead" by Kyle Fyte</td></tr>
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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.<br />
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<i>Obeah: A Sorcerous Ossuary</i> 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: <i><a href="https://www.dukeupress.edu/Obeah-and-Other-Powers/">Obeah and Other Powers: The Politics of Caribbean Religion and Healing</a></i> from Duke University Press.<br />
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*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: <i><a href="https://www.blogger.com/%3Ciframe%20style=%22width:120px;height:240px;%22%20marginwidth=%220%22%20marginheight=%220%22%20scrolling=%22no%22%20frameborder=%220%22%20src=%22//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ss&ref=ss_til&ad_type=product_link&tracking_id=balksarcabind-20&marketplace=amazon&region=US&placement=0956494013&asins=0956494013&linkId=UVIFXNC2EJ5IITZC&show_border=true&link_opens_in_new_window=true%22%3E%20%3C/iframe%3E">Football Voodoo: Magic, Superstition, and Religion in the Beautiful Game</a></i> by Chris Roberts. Are winning goals due to skill, <i>or is it magic?</i><br />
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<tr><td class="tr-caption">Photo credit: F and M Publications</td></tr>
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com0tag:blogger.com,1999:blog-1351715704059341447.post-6501360058400106892014-05-04T15:20:00.000-07:002014-05-07T21:25:18.793-07:00Daemonologie of King James <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0OMMmBdTPjH_19WRJOu6VKxi4Xx5OsF1tRbOP24bCPrYMtnyy3lGegyjVAEQXiGl6VdaH8wq7uv8lRV2FvrFF5jKKosN2OJfxySKuHklu5tfeqtR3xHCKvqzXWSPfko3DxacfMj361awF/s1600/IMG_0848.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0OMMmBdTPjH_19WRJOu6VKxi4Xx5OsF1tRbOP24bCPrYMtnyy3lGegyjVAEQXiGl6VdaH8wq7uv8lRV2FvrFF5jKKosN2OJfxySKuHklu5tfeqtR3xHCKvqzXWSPfko3DxacfMj361awF/s1600/IMG_0848.JPG" height="320" width="240" /></a></div>
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<a href="http://ouroboros-press.bookarts.org/">Ouroboros Press</a> 2014. 120 pages. Duodecimo (Twelvemo). Black and white illustrations.<br />
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Available in three editions:<br />
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<b>Standard Edition</b>: Cloth and letterpress dust jacket. Limited to 600 copies.<br />
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<b>Goat-Skin Edition</b>: Full black goatskin. Limited to 45 copies.<br />
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<b>Hellmouth Edition</b>: Quarterbound in snakeskin and cloth with folding plate depicting the <i>Hellmouth. </i>Limited to 25 copies.<br />
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First published in 1597, <i><a href="http://ouroboros-press.bookarts.org/portfolio/daemonology/">Daemonologie of King James</a></i> 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 <i>sciences</i>) and Philomathes (Greek for <i>lover of knowledge</i>). 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.<br />
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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.<br />
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The book is dived into three parts, each with a central argument followed a series of minor arguments and elaborations.<br />
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<li>First Booke: The exord of the whole. The description of Magie in speciall.</li>
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<li>Second Booke: The description of Sorcerie and Witchcraft in speciall.</li>
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<li>Third Booke: The description of all these kindes of Spirites that troubles men or women. The conclusion of the whole Dialogue.</li>
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As you can see, the book is written in Elizabethan English. Those unfamiliar with it may find it challenging.<br />
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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 <i>always</i> been everything; we just have more of it now. When describing the diabolic powers the Devil (or <i>Deuill</i> 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:<br />
<blockquote class="tr_bq">
"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:"</blockquote>
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.<br />
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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.<br />
<blockquote class="tr_bq">
"...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."</blockquote>
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.<br />
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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 <i>greater</i> 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.<br />
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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. <br />
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Now on to the part you've been waiting for, the book itself:<br />
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For this review I will be reviewing the "Hellmouth Edition" of <i>Demonologie of King James</i>. 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 <i>Hellmouth</i> 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.<br />
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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, <i>Daemonologie 1597</i> 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 <i><a href="http://ouroboros-press.bookarts.org/portfolio/nicholas-flammel/">Hieroglyphical Key</a>, </i>will feature a full Cambridge binding hand bound by Michael Atha of <a href="http://www.rarebookrestoration.com/">Restoration Books</a>. The early pictures look incredible.<br />
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With<i> Daemonologie of King James</i> 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 <i>Malleus Maleficarum,</i> Glanvil's <i>Saducismus Triumphatus </i>and other anti-witchcraft treatises of the 16th-17th centuries,<i> Daemonologie of King James</i> 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.<br />
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com0tag:blogger.com,1999:blog-1351715704059341447.post-81436420651081941352014-03-30T15:51:00.000-07:002014-04-04T18:26:21.622-07:00Black Magic Evocation of the Shem Ha Mephorash by G. de Laval<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.aeonsophiapress.com/">Aeon Sophia Press</a> 2013. 246 pages. Octavo. Black and white illustrations with one page full-color. Text in black & red.<br />
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Available in three editions:<br />
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<b>Standard Edition</b>: Quarter leather and silk moire. Limited to 200 copies.<br />
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<b>Deluxe Edition</b>: Full leather. Limited to 50 copies.<br />
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<b>Devotee Edition</b>: Full goatskin. Limited to 23 copies (11 with custom wooden box, 12 without).<br />
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<i>Black Magic Evocation of the Shem Ha Mephorash</i> is published by a relatively new esoteric press, <a href="http://www.aeonsophiapress.com/">Aeon Sophia Press</a>. In only a couple years their output has been tremendous, over 9 titles and two journals (<i>The 13th Path</i> 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.<br />
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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 <u>all</u> 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 <i>most</i>) 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.<br />
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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 <i>years</i> 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.<br />
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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 <i>order</i> in which we absorb knowledge is crucial.<br />
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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.<br />
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Now onto the book... <br />
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<i>Black Magic Evocation of the Shem Ha Mephorash</i> 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' (<span style="font-family: inherit;">יָה</span> - meaning 'mercy of God') to create a five-lettered holy name. This work deals primarily with the malefic angels which are signified by their <i>three</i>-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.<br />
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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:<br />
<blockquote class="tr_bq">
"<i>Generally</i> 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."</blockquote>
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.<br />
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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.<br />
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"...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. ... </blockquote>
Not to mention modern adages of Chaos Magic and Thelema respectively,<br />
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"We together are on the left-hand-path where nothing is true and everything is permitted."</blockquote>
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"<i>Do As Thou Wilt</i>, shall be the whole of the law."</blockquote>
So which is it? Are we to maintain a Judeo-Christian mindset and view biblical statements as, well, <i>gospel</i> -- that all magic is heresy,<i> </i>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 <i>pink</i>.<br />
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The author muddies the waters further by stating,<br />
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"<i>Specifically</i> 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."</blockquote>
And this paradoxical statement,<br />
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"So to the advanced witch, the "black and "white" descriptors are irrelevant. There is only magick, raw black chaotic power of the untapped mind..." </blockquote>
So magic is neither "black" nor "white"... <i>but it's still black?</i> Are we talking color or morality? Or is it the <i>practice</i> 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:<br />
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<ul>
<li>Aeonic Magic -- Magic involving time</li>
<li>Vampiric Magic -- Predatory magic </li>
<li>Spherical Magic -- Astrological/Planetary Magic</li>
<li>Lunar Magic -- Magic involving the phases of the moon</li>
<li>Black Magic -- Imbalanced, destructive, & demonic magic</li>
</ul>
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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 <i>Artes </i>S<i>apientiae</i> (Arts of Wisdom), in his <i>Philosophia sagax </i>(1536):</div>
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<ul>
<li><i>Insignis Magica</i> -- The interpretation of natural signs.</li>
<li><i>Magia Transfigurativa</i> -- The magic of transformation and transmutation.</li>
<li><i>Magia Caracterialis</i> -- The use of curative power-words and signs.</li>
<li><i>Gamaheos</i> -- Carving astral constellations on precious stones to grant magical powers.</li>
<li><i>Altera in Alteram</i> -- Crafting charms and talismans to heal or harm.</li>
<li>Ars Cabalistica -- The art of soul journeying, telepathy, scying, and psychometry.</li>
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Paracelsus saw all magic as natural forces which were not yet completely understood rather than the dominion of the Devil. </div>
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Furthermore, Robert Fludd (1574-1637) divided magic into five types:</div>
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<ul>
<li>Natural Magic -- Dealing with the mystical properties of natural substances.</li>
<li>Mathematical Magic - What we call the sciences today.</li>
<li>Venific Magic - The crafting of potions, philters, and poisons.</li>
<li>Necromantic Magic - Pact making with goetic spirits and the spirits of the dead.</li>
<li>Thaumaturgic Magic - The art of illusion and deception.</li>
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The author continues with an interesting explanation about the difference between <i>in</i>vocation and <i>ev</i>ocation. According to the author,<br />
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"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."</blockquote>
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"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. <i>An angel invoked has evoked the magickian. A demon evoked has invoked the magickian</i>."</blockquote>
This is a slightly different definition than to what some may be accustomed. Generally speaking, most people see invocation as summoning spirits <i>internally</i>, such as taking on god-forms. In contrast, evocation is to summon a spirit <i>externally</i>, like into a magic circle. In <i>Magic, Book 4</i>, Crowley explains the difference as,<br />
<blockquote class="tr_bq">
"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."</blockquote>
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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 <span style="font-family: inherit;">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. </span><br />
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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.<br />
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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.<br />
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Now the book itself:<br />
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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), <i>after</i> 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, <i>The Book of Abrasax</i>. It is my hope that publishers will announce <u>all</u> 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.<br />
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<tr><td class="tr-caption" style="text-align: center;">Devotee Edition. Image Credit Aeon Sophia Press</td></tr>
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The Deluxe Edition of <i>Black Magic Evocation of the Shem Ha Mephorash</i> 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.<br />
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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.<br />
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<i>Black Magic Evocation of the Shem Ha Mephorash</i> 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.<br />
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*Note: Those looking for further works on the Shem Ha Mephorash may also want to consider picking up Nick Farrell's newest work, <a href="http://www.lulu.com/us/en/shop/nick-farrell/the-shem-grimoire/hardcover/product-21451554.html"><i>The Shem Grimoire</i></a>. Some abominable typos aside (Saggitarious? Really, Mr. Farrell?), it is a great book.<br />
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com7tag:blogger.com,1999:blog-1351715704059341447.post-31875057064451776502014-02-26T21:11:00.000-08:002014-03-30T17:54:25.721-07:00Z3 - The Enterer of the Threshold transcribed by Cogito Ergo Sum<a href="http://www.hellfireclubbooks.co.uk/">Hell Fire Club Books</a> - no date stated (original document dates to 1896). 119 pages. Small octavo. Printed in full color.<br />
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Available in two editions:<br />
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<b>Half Leather</b>: Limited to 56 copies.<br />
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<b>Full Leather: </b>Limited to 22 copies: 3 mother letters, 7 planetary letters, & 12 zodiacal letters. Sold out at publisher.<br />
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<i>Z3 - The Enterer of the Threshold</i> is like a window back in time. The book is a facsimile of a handwritten document linked to the most legendary occult group of the Victorian era, The Hermetic Order of the Golden Dawn. Long before days of xerox machines, scanners, and .pdf's members had to hand copy all documents concerning the order and its teachings. Magical documents, such as the 'Flying Rolls', were lent to Adepts on a temporary basis. While in their possession, Adepti had to make a personal copy within a specified amount of time before passing it along to the next member, usually through registered mail. This particular copy of the <i>Z3</i> was copied on January 13th 1896, when the order was only six years old, by a female member known by her magical motto, Cogito Ergo Sum (<i>I think, therefore I am)</i> -- obviously a fan of Descartes.<br />
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The <i>Z3</i> document is an explanation of the symbolism and meaning behind the Neophyte, or 0=0, Ritual of the Golden Dawn. The Neophyte Ritual is one of the most fundamental ceremonies within the Golden Dawn tradition. Paradoxically, it is one of their most basic rituals, yet at the same time it is also one of the most profound in the way it can be understood on multiple levels -- a microcosm of the macrocosm. One could draw a parallel to the LBRP ritual; it is one of the most basic of rituals, yet is also one of the most effective.<br />
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The Z3 begins by describing symbolism to be used in the ritual. I should add that this document is intended for Adepti, not the Neophyte candidate. This follows with notes about how the ceremony is to be structured and conducted. The reader is then told how to instruct the candidate in the meaning of some of the signs and symbolism used within the Golden Dawn. It also gives advice on how the Hierophant should conduct the ceremony. For example, "The Ritual should in all cases be said in a loud, stern, clear, and solemn voice, so as to impress the Candidate with the solemnity of the occasion; and in this there should be no foolishness, nervousness, or hesitation." That's Victorian-speak for "No screwing around!" There are some other notation gems and interesting asides to be found within the text as well.<br />
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The text continues with instructions for teaching the candidate the basic Neophyte gestures, like the Step, Saluting Sign, Sign of Silence, and Grip. It also explains how the Grand Word and Equinoctial Password are to be imparted to the candidate. As many readers may know, a fair amount of the symbolism and ritual devices can be traced directly back to Freemasonry. As a good friend once told me, "The Golden Dawn is Freemasonry on steroids". The only caveat to that statement is the Golden Dawn allows women members; they were one of the first secret societies to do so. The Golden Dawn would not be what it is today without the contributions of female members like Florence Farr, Moina Mathers, Annie Horniman, Evelyn Underhill, and of course the copyist of this document. For those interested in learning more about the women of the order I highly recommend Mary K. Greer's book, <i><a href="http://www.amazon.com/Women-Golden-Dawn-Priestesses-Horniman/dp/0892816074">The Women of the Golden Dawn: Rebels and Priestesses</a></i>.<br />
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The text concludes with a discussion about the symbolism of the Closing Ceremony and the symbolism of the Equinox. The text reads more like an overview of the Neophyte ritual with tips and suggestions rather than a ritual script. The text assumes the reader already has advanced knowledge in the Golden Dawn tradition and Western esotericism in general, including text in Hebrew and Coptic, which is not surprising considering this was an Inner order document intended only for the eyes of Adepts. Unless one was very familiar with the Golden Dawn tradition, one would have a very hard time reproducing the Neophyte ceremony from this text alone. It presents the bare bones of the ritual only. Prior to Israel Regardie's published works, details of the Neophyte Ritual were mostly unknown outside the order. Those familiar with Regardie's version of the 0=0 will be intrigued by differences presented here.<br />
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Now for the book itself:<br />
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In this review I will be reviewing the Full Leather edition, one of the three 'Mother Letter" copies, of which this is 'Aleph' (<span style="font-size: large;">א)</span>, meaning "breath'<span style="font-size: large;">. </span>The book itself perfectly embodies the era in which it was originally written -- so much so that it almost feels like a relic. It is bound in full, rich, plum kidskin with vertical long grain. Inset into the cover is a piece of triangular, black, calfskin upon which the figure of Thoth is stamped in gilt. Each copy has one of 22 Hebrew letters in gilt at the apex of the triangle and "Z" & "3" at the lower points. The black triangle likely represents the Banner of the West. The spine has 5 double gilt lines representing the striped Nemyss worn during ritual. It also has striped black/gold head and tail bands.<br />
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The book opens to hand-marbled endpapers, a mesmerizing display of plum, gold, and emerald. The publisher states,<br />
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"Marbled papers by Ann Muir (traditionally made by hand with carrigheen moss and light-fast pigments derived from natural plant extracts, onto a good stock of archival paper), in a typical nineteenth century style whose coloration is chosen to harmonise with the colour scales relevant to the forces of the Grade Ritual of Neophyte under the activity of Thoth between the Pillars of Mercy and Severity."</blockquote>
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Each book also includes a replica of the original bookseller-stationer's label affixed to the top corner of the inner board. This is a real nice touch lending a real sense of history to the book. It is a detail that most publishers would not bother with. Bravo, Hell Fire Club Books.<br />
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<tr><td class="tr-caption" style="text-align: center;">Detail of Cogito Ergo Sum's handwriting</td></tr>
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The paper is quite nice and of a color and weight typical of the era. Again, to quote the publisher, the paper is, "100% cotton content produced by the prestigious mills of ‘Crane & Company’ who have been making paper since the 1850’s by time honoured methods and to the highest standards." It is printed in full color by offset lithography at the exact size of the original copy. Many of the passages were penned with red ink which comes though vibrantly in this edition. The strokes of the pen come though so clear that it is difficult to distinguish this from an original document. Some of the penmanship can be a bit difficult to read at spots, but overall it is very legible.<br />
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<i>Z3 - The Enterer of the Threshold</i> is a fascinating glimpse into the early workings of The Hermetic Order of the Golden Dawn. Experiencing a work like this in the actual hand of a member gives the reader a marked sense of intimacy and an appreciation for what serious magical practitioners were willing to do to obtain knowledge and enlightenment. How many magical practitioners today would be willing to copy nearly 120 pages by hand? <i>Z3</i> is an insightful treasure for those interested in the Golden Dawn tradition and a fascinating reproduction for those enamored with Victorian era occultism. <br />
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com0tag:blogger.com,1999:blog-1351715704059341447.post-71475595996131262112014-01-26T18:35:00.000-08:002014-01-27T19:52:22.083-08:00WINNER: 2013 Esoteric Book of the Year*A note on how books are judged.<br />
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Books will be judged by the following criteria: binding, materials, design, talismanic intent & method of consecration (if applicable), artwork/layout, and editorial rigor. Books are chosen from those released and delivered (in full) within the year 2013 (even though they may have a 2012 publication date). This is because many books tend to encounter publishing delays. This is especially common in esoteric publishing for a number or reasons. For example, a 2012 book may not actually be available until 2013 in some cases. Books will <u>not</u> be judged by their topic, theme, or content (other than grammar). This may sound strange, but I feel it is unfair and pointless to compare or make value judgments between different magical paths or traditions (like comparing apples to oranges). While I do my best, I am not qualified to judge and assess every single magical system the world has to offer; I very much doubt such a person exists. Therefore, books will be judged by their craftsmanship, editorial competence, creativity, and beauty only.<br />
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Balkan's Arcane Bindings (BAB) is proud to announce its pick for the English language <b>2013 Esoteric Book of the Year.</b><br />
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*Note: A delayed entry: </div>
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<i>The Graveyard Wanderers</i> (Copper clad version), published by The Society of Esoteric Endeavour was a likely candidate for an award this year. The sold-out book has been in the hands of readers for months. However, the deluxe copper slipcases for the 'Copper clad version' are still in production. Therefore the title must be pushed into 2014 and will be judged in the '14 awards.<br />
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<b>The BAB Golden Talisman Award for 2013 Esoteric Book of the Year goes to....</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsk_9ahe6y4M3aui9-eqRbSvMRN2hiHAJiyFWCZbM1Ct2rqb8Ls6jEK_zd3IpewOFNB_KV2avEVRi1essN-bfy4uw6AJa2Ne7MdgDwGqQw0CbYb9V5guh5t9MIJW6Jpk0UVNqJ-iWg98Bp/s1600/Award+1+Gold+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsk_9ahe6y4M3aui9-eqRbSvMRN2hiHAJiyFWCZbM1Ct2rqb8Ls6jEK_zd3IpewOFNB_KV2avEVRi1essN-bfy4uw6AJa2Ne7MdgDwGqQw0CbYb9V5guh5t9MIJW6Jpk0UVNqJ-iWg98Bp/s1600/Award+1+Gold+sm.jpg" /></a>Scarlet Imprint's <i><b>Exu and the Quimbanda of Night and Fire</b></i> by Nicholaj de Mattos Frisvold (Mor Edition).<br />
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This gigantic tome explores the origins of Exu, one of the most prominent spirits in the Quimbanda tradition. Exu is the Lord of Magic and represents masculine power, creation, and transformation. He can also be a trickster. Mr.Frisvold gives the reader instructions detailing how one is to work with Exu, including proper offerings, seals, magical powders, chants, and more. Within are ten illustrations and 120 pontos riscados/seals created by Enoque Zedro. His work is somewhat similar in style to decadent artist Aubrey Beardsley. This is a companion book to Mr. Frisvold's earlier work, <i>Pomba Gira and the Quimbanda of Mbumba Nzila, </i><a href="http://balkansarcanebindings.blogspot.com/2012/01/winner-2011-esoteric-book-of-year.html">2011's Bronze Talisman winner</a>. This is a tremendously important work, especially for those interested in ATR traditions and the grimoire tradition.<br />
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<i>Exu</i> (Mor Edition) is bound in full goatskin. The cover is decoratively blind stamped with a fiery design radiating from a goat skull device blocked in gold. This is a heavy book with sturdy construction -- 352 pages. Boards are thick to support the heavy textblock and are stylishly beveled. Exu has marbled endpapers, a black ribbon bookmark, and comes with a slipcase. Edges are gilt and have a dazzlingly bright sheen. The spine has four raised bands and sports the title, EXU, in large gilt letters. The publisher states, this edition is "reeking of cigar smoke and iron." When my copy arrived I noticed a faint yet distinct scent of cigar smoke. Either it was the power of suggestion, or Scarlet Imprint really did subject copies of the Mor Edition to a magical suffumigation. Observant readers may be aware that the Standard Edition of this book was released in 2012, however, the Mor Edition was not available until the first part of 2013 and is therefore judged among this year's releases. The Mor Edition of <i>Exu and the Quimbanda of Night and Fire </i>is<i> </i>limited to 70 copies. This is a magnificent production. Congratulations!</div>
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<b>In second place, the BAB Silver Talisman Award goes to...</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOOT6S2HXEC0aYxezQHBF2tT5YPMsEIdnrtwHad2wzfCTrCsYD5TpDyrStTkMDxlDBZQi97MUnPEw_02vRlD_4412VrSi4FHqLFGJeU64faq7l0hSFpaxyrvt4FHleiAGqTtOyeBhIBhnY/s1600/Award+1+silver+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOOT6S2HXEC0aYxezQHBF2tT5YPMsEIdnrtwHad2wzfCTrCsYD5TpDyrStTkMDxlDBZQi97MUnPEw_02vRlD_4412VrSi4FHqLFGJeU64faq7l0hSFpaxyrvt4FHleiAGqTtOyeBhIBhnY/s1600/Award+1+silver+sm.jpg" /></a>Ouroboros Press' <i>Zoroaster's Telescope</i> by André-Robert Andrea de Nercia and translated by Dr. Jennifer Zahrt (THE URN Edition).</div>
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<i>Zoroaster's Telescope</i> is a late 18th century work describing a fascinating divination system. The system utilizes 122 hexagonal tiles called "The Urn", each containing various planetary, zodiacal, and angelic associations. 37 tiles are drawn at random and formed into what the author calls "The Great Mirror". The diviner then studies the configuration and how the tiles relate to each other until answers begin to reveal themselves.<br />
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THE URN Edition of Zoroaster's telescope comes with 122 wooden tiles. Each tile has been engraved (laser engraved, I think) with various signs and attributions according to the book's instructions. The box in the photo is not included. I felt they needed a suitable container and happened to have a box that was the perfect size. This is one of the most unique divination systems I have ever used. It is somewhat complex, but it offers many layers of information. It is up to the diviner to decide how deeply they want to gaze into The Great Mirror. The only unfortunate drawback to the tile set is that a few tiles contain minor errors, mixing up Gemini/Pisces and Virgo/Scorpio signs (credit to V.H. Fra. Phaino for noticing this during our divination). At first I thought that perhaps the original diagram contained a blind (which the publisher faithfully reproduced), but the tiles to not reflect the way the tiles appear in the diagram. This minor oversight aside, Zoroaster's Telescope is an amazing system. Only 9 copies of THE URN edition (and 9 sets of tiles) were produced.<br />
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The book is bound in full vellum and contains a gilt lamp device on the cover. Vellum is hard to work with, but the result is stunning. The spine has seven raised bands, each outlined with a gilt line. It is finished with vellum head and tail bands, marbled endpapers, and a red ribbon bookmark. THE URN edition of <i>Zoroaster's Telescope</i> is easily one of the most unique books of 2013.<br />
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<b>In third place, the BAB Bronze Talisman Award goes to...</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iJILvtW7Zdy99QSJ05A4mOeNvnUY66gPLdZtIyXZnTsUJzx4WgqKotoHlo_HUo1DjXQODHWithO12wSMqgiJy03HTwUGrSjA-mmZ81pTtVas4RgNoi01MOvZDGZyIxDSpAqsk4_fmCHd/s1600/Award+1+bronze+sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iJILvtW7Zdy99QSJ05A4mOeNvnUY66gPLdZtIyXZnTsUJzx4WgqKotoHlo_HUo1DjXQODHWithO12wSMqgiJy03HTwUGrSjA-mmZ81pTtVas4RgNoi01MOvZDGZyIxDSpAqsk4_fmCHd/s1600/Award+1+bronze+sm.jpg" /></a>IXAXAAR's <i>FOSFOROS</i> by Johannes Nefastos (Astra Matutina Edition)</div>
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No one could mistake the Astra Matutina Edition of FOSFOROS for anything but a magical book. The designer was able to successfully walk the thin line between 'tastefully ornamental' and 'gaudy'. The result is the diabolically beautiful and daring example of esoteric publishing you see below. FOSFOROS is a "Study on the being and essence of Satan". At its core it is a philosophical system seeking to understand the concept of total unity, or oneness, which it feels can only be done by paradoxically studying extreme opposites, in this case God/Satan. The book is illustrated by M. Räisänen, Fra V-A and Pietari Hanson. The artwork is quite good, perfectly complementing the book's content. It is translated by J. Nefastos and I Meinlander; edited by M. Wightman.<br />
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FOSFOROS (Astra Matutina Edition) is bound in full goatskin. The leather's scent is rich and earthy (no trace of brimstone). The cover is stamped in sliver and red foil with a vesica pattern and central pentacle emblem. Edges are silver gilt. FOSFOROS has leather head and tail bands, pentacle-patterned endpapers, and a silver ribbon bookmark. I must add I feel the book would have benefited from a title on the spine. Leaving it blank was a curious choice. Still, it is a marvelous and stunning work -- one of the year's best. Limited to 55 copies.<br />
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<b>2013 Honorable Mentions:</b></div>
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<li><i>The Keys of Ocat: A Grimoire of Daemonolatry Nygromancy</i> by S. Connoly (Funerary Templar Edition), published by Nephilim Press.</li>
<li><i>Serpent Songs</i> curated by Nicholaj De Mattos Frisvold (Serpentine Edition), published by Scarlet Imprint.</li>
<li><i>The Catechism of Lucifer</i> by Johannes Nefastos (Leather Edition), published by IXAXAAR.</li>
<li><i>Arcanum Bestarium: Of the Subtil and Occult Virtues of Divers Beasts</i> by Robert Fitzgerald (Deluxe Edition), published by Three Hands Press.</li>
<li><i>Occlith 0: Omniform</i> by Joseph Uccello (Special Edition), published by Three Hands Press.</li>
<li><i>Rosicrucian Manifestos</i> by Johann Valentin Andreae (NEQUAQUAM VACUUM Edition), published by Ouroboros Press.</li>
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2013 was an explosive year for esoteric publishing. The year saw the addition of a number of new esoteric publishers, but what stood out the most was the occult journals that have hit the market. See my earlier entry: <a href="http://balkansarcanebindings.blogspot.com/2012/09/a-brief-overview-of-todays-esoteric.html">A Brief Overview of Today's Esoteric Journals</a> (only it wasn't quite so brief) for more details. I intend to post an update to this review in the near future to address some new and exciting journals, some of which are quite deluxe. </div>
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I sincerely hope the dramatic growth within esoteric publishing is reflective of a growing readership. Are more people being drawn to the subject, or are current readers buying <i>more</i> books than previously? Perhaps what we are seeing is only a sign of an increasingly competitive market, one that I hope will remain driven by quality. In any case, it is encouraging to see new publishers arise, especially after so many claims that the days of "dead tree books" were numbered. The jury is still out on that one, but the e-book is certainly gaining ground. According to <a href="http://pewinternet.org/Reports/2014/E-Reading-Update/A-Snapshot-of-Reading-in-America-in-2013/Whos-reading-and-how-a-demographic-portrait.aspx#footnote4">Pew Research</a>, nearly half of Americans under 30 read an e-book in 2013.</div>
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Ever adaptable, much of the esoteric publishing world has developed the necessary shape-shifting skills to be whatever each individual reader desires. For some it is a convenient and space-saving e-book; for many it is a modestly priced hardback; for a few it is a magical operation performed via leather, ink, and gilt. All of these are the correct means of transmission. It is this sort of market-cunning that allows esoteric publishing to stay relevant in the 21st century. </div>
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There is a LOT to forward into 2014. A number of highly anticipated books have already been announced. Here are a few:<br />
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<li>The long-awaited <i>Ontological Graffitti </i>by Michael Bertiaux, to be published by <a href="http://fulgur.co.uk/">Fulgur Ltd</a>. looks to be another fascinating exploration of the Voudon Gnostic current.</li>
<li><a href="http://www.ixaxaar.com/">IXAXAAR's</a> most deluxe publication to date: <i>The Book of Achra Sitra: A Grimoire of the Dragons of the Other Side</i> by N.A-A.218 (Deluxe Black Python Edition) will arrive in the first part of 2014. I hope interested readers have already secured a copy, as all copies (999 copies in total) have completely sold out prior to its release.</li>
<li><a href="http://www.scarletimprint.com/">Scarlet Imprint's</a> first release of 2014 will be the final volumes of Jake Stratton Kent's <i>Encyclopedia Goetica</i> series, <i>The Testament of Cyprian the Mage </i>(2 volumes). This marks the end of a truly monumental amount of research into the grimoire tradition.</li>
<li>Fans of David Chaim Smith will soon have his second volume of Qabalistic brilliance, <i>A Blazing Dew of Stars</i>, expected early in 2014 from <a href="http://fulgur.co.uk/">Fulgur Ltd</a>. </li>
<li>2014 will see the first volume of an ambitious series, <i>THE MAGISTER, Volume 0: The Order of Revelation</i> by Marcus Katz. It will be the first of 11 planned volumes (white quarter-leather), published by <a href="http://www.salamanderandsons.com/">Salamander & Sons</a>.</li>
<li><a href="http://ouroboros-press.bookarts.org/portfolio/daemonology/">Ouroboros Press</a> has recently announced a classic text from the late 16th century, <i>Daemonologie. </i>It will be printed in three editions, including the enticingly named "Hellmouth Edition", quarter-bound in snake skin and parchment.</li>
<li>Recently, fans of Mark Alan Smith received the standard edition (Blood-Pact Edition) of his newest work, <i>The Altar of Sacrifice</i>, and were stunned by its superb quality (myself included -- the standard edition is of the quality of most deluxe editions). However, early in the year a lucky few will receive the very limited Sacrificial Soul Edition, bound in black snake skin, published by <a href="http://www.primalcraft.com/">Primal Craft</a>.</li>
<li>Last but not least... perhaps the most anticipated book of the year (or even the <i>decade</i> for some) will be the legendary <i>Dragon Book of Essex</i> by the late Andrew Chumbley, made public for the first time by <a href="http://xoanon.co.uk/">Xoanon Ltd</a>.. It will be a mammoth tome at 882 pages. It has been a long wait for this one.</li>
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Have a great year, dear readers.<br />
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Sincerely,<br />
B. Balkan</div>
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com3tag:blogger.com,1999:blog-1351715704059341447.post-11266978081895325832013-12-29T11:52:00.000-08:002014-01-27T20:36:12.152-08:00The Future of Esoteric Publishing?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Image credit: pjmedia</td></tr>
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In lieu of my usual book review I decided to open up a conversation with my readers about current trends and the future of esoteric publishing.<br />
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With 2013 drawing to a close, and a new year on the horizon, I began to wonder what possibilities the future may hold for esoteric publishing. Certainly we have seen a large increase in the number of independent esoteric publishers in recent years. I expect this trend to continue for a while for as much as the market will permit. However, what I'm most interested in is the form, format, and function that future publications may take. We live in a rapidly changing world where amazing new technologies are adopted quickly by society creating frequent paradigm shifts in how we digest information and how we communicate with one another.<br />
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With this in mind, how will new technology change esoteric publishing? E-books have certainly changed the landscape in ways both good and bad. Books are now available instantly, but at a cost, as book piracy has become a worrisome problem. Will digital media continue to expand and slowly overshadow the printed book? I see digital media becoming a stronger force in most time-sensitive (and relatively disposable) publications: newspapers, periodicals, mass-market paperbacks, etc. However, it may not take hold as much within esoteric publishing for the simple fact that many readers tend to see physical books as an iconic feature within esotericism. For some, books are simply a convenient vehicle for information (e-books being even <i>more</i> convenient); for others (myself included) they are a magical fetish, a residence of spirits, or an integral component of their practice. <br />
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One of the obvious benefits of digital books/documents is that one can store a massive amount of information on something as small as a flash drive. The website <a href="http://www.sacred-texts.com/cdshop/dvd90/index.htm">Sacred-Texts</a> currently sells a flash drive containing 1700 esoteric books (books in public domain), stating, "Hold the world's wisdom in the palm of your hand!" It is really incredible when you think about it. <br />
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<tr><td class="tr-caption" style="text-align: center;">Photo credit: Sacred-Texts.com</td></tr>
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Aesthetically there is a world difference between an ephemeral occult e-book and a gilded, goat-skin, grimoire. But what if there were a third option -- something in-between the two extremes? I see no reason why publishers cannot blend traditional bookbinding craftsmanship with a bit of <i>ars technica</i>.<br />
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Allow me to give you an example:<br />
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An old friend of mine recently brought a book to my attention. It is a hardback graphic novel titled, <i><a href="http://www.amazon.com/Shifter-Brian-Haberlin/dp/0985334215/ref=sr_1_1?ie=UTF8&qid=1388252871&sr=8-1&keywords=shifter">Shifter</a> </i>created by Skip Brittenham and Brian Haberlin and published by Anomaly Publishing. It is essentially an adventure involving characters shape-shifting into various animals. What really makes this book unique is that is utilizes modern technology in a rather novel way using what it calls "Ultimate Augmented Reality", or (UAR), an app one can download from the publisher's site. By using the app the reader is able to access additional information. The reader uses a smart phone and points it at "live" pages. This generates hidden 3D items (via augmented reality) that the reader can interact with by tapping/swiping their smart phone. Additional information and content is added periodically by the publisher extending the life the story by offering more possibilities for the reader. It sounds like something right out of William Gibson's <i>Neuromancer</i>, but it is today's reality.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1bFmtPmZVwGLRMzjpQRvTL6OejlXlERB7M-jnnCSRdu8LUl0P_P46fwR4_MJBgEyD2X9WhTLPzFQZLBTgnejwmAlYT_hc9fcQEKGID-lEd7sntlTTUDQ5Hf81CPNAqmg8cv7Yz4Q6pWc/s1600/9780985334215_p0_v2_s260x420.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1bFmtPmZVwGLRMzjpQRvTL6OejlXlERB7M-jnnCSRdu8LUl0P_P46fwR4_MJBgEyD2X9WhTLPzFQZLBTgnejwmAlYT_hc9fcQEKGID-lEd7sntlTTUDQ5Hf81CPNAqmg8cv7Yz4Q6pWc/s320/9780985334215_p0_v2_s260x420.JPG" height="320" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image credit: Anomaly Publishing</td></tr>
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I believe technological features such as these offer tremendous potential for esoteric publishing. Consider the following possibilities:<br />
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<li>An occult book with embedded/hidden digital content accessible via smart phone app, such as video footage of the author performing a ritual described in the book or demonstrating personal techniques.</li>
<li>A grimiore that has interactive tables and diagrams, or one that generates a virtual ritual space via augmented reality. </li>
<li>An alchemical text allowing the reader to mix virtual chemicals safely as a chemical/spiritual model (no fulminate of mercury explosions for the Jack Parsons of our time!) or shop for labware directly through the book. </li>
<li>A charm book that generates specific spells in real-time that are aligned to current conditions, such as appropriate planetary hours or specific calendar days; again, accessible via smart phone or something like <a href="http://www.google.com/glass/start/">Google Glass</a>.</li>
<li>How about a book on Enochian magic that generates 3D elemental tablets and an audio pronunciation guide? </li>
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Embedded content is a whole new way of hiding information in plain sight -- a long tradition in esotericism. Books could open up in ways previously unimaginable for those willing to look deep enough. I needn't remind anyone that the very word 'occult' means <i>hidden. </i>Thus, one could look at all this as a 21st century take on a very told tradition.<br />
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I should note that the possibilities described above should not be added as simple gimmicks or games, but rather used as serious tools intended to assist the reader. </div>
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Granted, some of these ideas would require innovative software development. However, publishers/authors could still utilize modern technology by doing something as simple as including a printed <a href="http://en.wikipedia.org/wiki/QR_code">QR code</a> to take readers instantly to relevant internet links.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NN-39ffHujvkQ_7v5F7TPtxiKwKjmA920RloNyOekOFFXnVObGeuzDG_yp6CjNcQPUNbu0_sFFcCnju6keEB8YspwuKWKlrAGIojypCy0UsHu-XbYQjrTgTVVcxvsZMsL2GDUETSWW8P/s1600/QR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NN-39ffHujvkQ_7v5F7TPtxiKwKjmA920RloNyOekOFFXnVObGeuzDG_yp6CjNcQPUNbu0_sFFcCnju6keEB8YspwuKWKlrAGIojypCy0UsHu-XbYQjrTgTVVcxvsZMsL2GDUETSWW8P/s1600/QR.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image credit: Wikipedia</td></tr>
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Technology aside, there are still other ways in which publishers and authors could creatively add layers of esoteric content to their works. For example, I have often wondered why it is that very few esoteric books experiment with layout and typesetting, that is, making the <i>text itself</i> a magical sigil of sorts. If one is interested in seeing a marvelous example of creative text I would suggest picking up a copy of Mark Z. Danielewski's novel, <i><a href="http://www.amazon.com/House-Leaves-Mark-Z-Danielewski/dp/0375703764"><span style="color: blue;">House</span> of Leaves</a></i>. The book has achieved cult status among fans. The book is a massive cypher, a modern classic of metafiction. Perceptive readers are still deciphering the text and finding new hidden content over 13 years after the book's publication. </div>
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<tr><td class="tr-caption" style="text-align: center;">Photo credit: <a href="http://www.npr.org/2009/10/26/114176451/three-hauntingly-unforgettable-literary-houses">NPR.org</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">An example of <span style="color: blue;">H</span>OS's eccentric text layout. Photo credit: <a href="http://dreadfulcafe.com/dreadful-review-of-house-of-leaves/">The Dreadful Cafe</a></td></tr>
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<u>Current trends</u>:<br />
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Some of my readers may have noticed an increase in hand-made accouterments accompanying deluxe editions: elaborate slipcases & chemises, decorative wood boxes, hand-made divination tools -- even small bags of animal bones. A couple decades ago we began to see books including talismans hand-drawn by the author, like the ones accompanying many of Andrew Chumbley's first limited editions. Many of these were roughly the size of a large bookmark. Today this tradition continues, exhibiting a wide array of materials, impressive craftsmanship, and notable originality.<br />
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Xoasis Publications recently announced a limited edition (Death Edition) of <i><a href="http://www.xaosis.com/en/bop_deathedition.html">The Box of Pandora</a></i> by Sheila Undi that actually comes inside an ornately carved ebony box. The box also has a lock, and considering the title, one should expect nothing less. The 'Devotee Special Edition' of <i>Black Magic Evocation of the Shem ha Mephorash</i> by G. de Laval, published by Aeon Sophia Press, also comes inside an intricately carved, custom, wooden box, as did the deluxe edition of David Beth's <i>Voudon Gnosis</i>, published by<i> </i>Fulgur Ltd.. Ouroboros Press recently released 'THE URN' edition of <i><a href="http://ouroboros-press.bookarts.org/portfolio/zoroasters-telescope/">Zoroaster's Telescope</a>. </i>Besides the beautiful vellum-bound book, each copy includes 122 hexagonal etched wood tiles used for a divination system detailed in the book. It is a very small edition -- only 9 sets were made.<br />
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The examples given above represent a wonderful marriage of the bookbinder and woodworker's respective arts. I suspect we will see more of this in coming years, though it is easy to see how this sort of thing could get a bit carried away. For example, I doubt I would buy a special edition of anything that came with a 2 foot statue, or a vial of the author's blood. In my opinion, books should come with items people actually want and that serve a purpose. My suggestion to publishers is to keep such items relative to the work. Furthermore, extra items should be practical and either serve as protective housing for the book or compliment it in some way, like a tool. 'THE URN' edition of <i>Zoroaster's Telescope</i> is perhaps the best example of the latter; the wood tiles are a key component of what the book is all about. <br />
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Some of you may also have noticed rapidly climbing prices of some deluxe and "super-deluxe" editions. I refer to the original sale price, not the aftermarket price, which is often absurdly inflated to the point of being ridiculous (check out eBay for a good laugh). Just a few years ago $300 was generally considered the top of the high end for most deluxe editions (still an outlandish sum for most readers). Things have changed. This is because some books are becoming even more lavish. Recently I have seen new publications listing a pre-order price over $700. I think this nears the ceiling of what most customers are willing to spend on a new book, even the most rabid collectors, though I could be proven wrong.<br />
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Without a doubt the bar has been raised. In coming years I foresee books bound in more exotic leathers/hides and also the revival of old bookbinding techniques, like gauffered edges (see photo below). We haven't quite reached the 'bound in human skin' point, but publishers are getting far more inventive and willing to push the boundaries of bookbinding. I am not sure if this is a result of increased competition in the market or not. Amazing publications that generate a lot of 'buzz' will certainly make a publisher stand out. It could also be that publishers realize there is less risk involved when investing in very expensive editions now that deluxe editions (even super-deluxe editions) have a proven track record of selling out.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtypKuiEYDXHzuu4FwAwGkTdDpwv7eI-qO6Ffcg-8dG0atrnPd-hwWdNLeGxBlKP3LKjBpmMfay_TjRGUc-iLQj8ja8VoLrxKonwYDWPsl0eDihR9VVL-h9XSG_j6KugxXj7J7D4lAIHRQ/s1600/gauffered_edges.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtypKuiEYDXHzuu4FwAwGkTdDpwv7eI-qO6Ffcg-8dG0atrnPd-hwWdNLeGxBlKP3LKjBpmMfay_TjRGUc-iLQj8ja8VoLrxKonwYDWPsl0eDihR9VVL-h9XSG_j6KugxXj7J7D4lAIHRQ/s320/gauffered_edges.jpg" height="233" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Example of gauffered edges. Imagine a book like the one shown above with magical insignia along the edges.<br />
Image credit: crouchrarebooks.com</td></tr>
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Generally speaking my estimation for increasing prices is due to two common market traits:<br />
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<li><u>Quality</u>: Publishers have noticed that customers are willing to pay premium prices for high quality books, often made using hard-to-find and exotic materials (like python skin). A few recent books have been of startling quality and construction; last year's Esoteric Book of the Year winner,<i> Devils and Spirits</i> is a good example. Publishers are meeting the market demand and customers are getting what they pay for. </li>
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<li><u>Scarcity</u>: Some books are priced very high, not because of their lavish construction, but simply because they are printed in extremely small editions and expected to sell out quickly. In such cases it is good practice to be a bit leery of high-priced small print-runs intended to create artificial scarcity. Ask yourself, W<i>ould the book be worth the price if there were thousands available?</i> Reputable publishers sell books at a reasonable debut price regardless of how small the print run is. One can see a similar pricing model in the scotch whiskey market (I love using whiskey to illustrate a point). One cannot gauge the quality of scotch by the price alone. Some bottles are priced at astronomical prices due to extremely low supply. Thus, a rare $300 bottle of whiskey from a mothballed distillery may actually be of <i>inferior</i> quality when compared to a commonly available $50 bottle. It is priced high only because of its rarity. </li>
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So, readers and collectors will have to decided what is most important to them: rarity, quality, content (at all costs?), or all of these. And as always, <i>caveat emptor</i>.<br />
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I invite my readers to share your thoughts and opinions about current trends in esoteric publishing, and also any ideas and prognostications about what the future may hold. What would <i><b>you</b></i> like to see?<br />
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In my next post will announce the 2013 awards for Esoteric Book of the Year.<br />
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Wishing everyone a Happy New Year,<br />
B. Balkan</div>
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com7tag:blogger.com,1999:blog-1351715704059341447.post-16606566998696272013-11-12T20:40:00.000-08:002013-11-14T18:16:53.296-08:00The Book of Azazel: The Grimoire of the Damned by E. A. Koetting<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.nephilimpress.com/">Nephilim Press</a> 2012. 184 Pages. Octavo. Black and White Illustrations. Text in black & red.<br />
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Available in two editions:<br />
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<b>Limited edition</b>: Cloth-bound hardcover. Limited to 666 copies. Sold out at publisher.<br />
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<b>Special Reserve edition</b>: Full leather. Limited to 77 copies. Sold out at publisher.<br />
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<i>The Book of Azazel</i> is a quick but fascinating read. In some ways it reminds me of earlier grimoires in that it includes first-hand accounts from the author, including ritual preparation, magical results, and his relationship with spirits. Rather than being a simple laundry list of spells or tables of correspondences, the author includes a great deal of objective analysis of his workings. I found this to be remarkably refreshing. It is fairly common for occult authors to mention their magical successes and failures, and leave it at that -- like some kind of score card. Less commonly do authors dig deeper and analyze the mechanics behind their results to get a bigger picture of what is actually going on.<br />
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Mr. Koetting keeps a very open mind when discussing his relationship with spirits, particularly the spirit Azazel. I have found it is often temping for practitioners to become somewhat narrow-sighted when developing a relationship with a particular spirit. Some allow the spirit to become such a monumental part of their life that they slowly become slavish worshipers or begin to form unhealthy and parasitic bonds. The author comes close to the latter, but wisely steps away from the precipice before it is too late. This is most likely due to the authors experience and his overall philosophy regarding magic. Mr. Koetting appears to be from the "All is mind" school of thought. I believe this is a healthy perspective, as it allows the practitioner a clear and objective view of how he/she is linked to the cosmos; ergo, what seems to be outside phenomena may actually be a representation of an inner process. In contrast, those who believe in literal & external angels and demons are thereby forced to react to them within a literal framework. This can be somewhat limiting and problematic, to say the least.<br />
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The author wisely chooses to keep the concept of what is "real" very ambiguous. Mr. Koetting states, "The demon is given form by the ritual of evocation, and such a form is dictated by processes running as an undercurrent in the human consciousness." He believes, "there is no difference between the imaginal and the real, or the spiritual and the physical."<br />
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<i>The Book of Azazel</i> is in many ways a memoir detailing Mr. Koetting's dealings with the spirit Azazel, in particular the pact he made with said spirit. Like most memoirs, it includes a fair amount of personal details about the author's life and experiences. He presents his communication with Azazel in a particularly novel way: Throughout the book Azazel's words are printed in <span style="color: red;">red</span>. This lends a bit of a dramatic flair that seems perfectly suited for the tone and format of this work. Mr. Koetting describes the communication as being received telepathically, an almost instant impression on his mind of what the spirit is saying. I have heard numerous magicians describe spirit communication in a very similar way. Often words and images are flashed upon the mind in a brilliant instant, sometimes before the question is even finished, as if the spirit exists independent of time (which is likely the case). Some of Azazel's remarks are lengthy, so I can only assume the author is paraphrasing the spirit at times, unless he has a remarkable memory.</div>
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The midsection of the book, "The Grimoire of Legions", includes a list of demons along with their respective sigils. These are the spirits who work under Azazel and are divided between three houses: Anatel, Retzael, and Malkash. One part of the book that stands out in particular is the author's comment regarding how earlier grimoires seem to reflect the class structure of the times. For example, various demons have titles like 'Duke', 'Prince' or 'Knight'. Obviously this is an artifact of the Medieval mind, a hierarchical system that would have been familiar to them. The author postulates that said titles may not be very accurate -- more of a quaint relic -- as many believe that spirits operate within a dimension (or psyche) completely unlike our physical world. Thus societal constructs and terms like 'Archduke' seem ridiculous to the modern mind when applied to the realm of spirit. One can see similar hierarchies in Enochian magic. A modern practitioner may want to consider looking at spirits as being more fractal in nature -- each minor spirit containing all the information of the whole -- rather than a literal chain of command. The author, understanding this and seeking clarification, asks Azazel, "Explain the Infernal Hierarchy to me." </div>
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Azazel responds, "<span style="color: red;">The Infernal Hierarchy is as follows: The Operator; and everything else in existence</span>."</div>
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This is a very post-modern perspective. It follows one of the main tenets behind Quantum Physics, that the observer is the key to decoding the universe so that it may be experienced or understood either intuitively or physically.</div>
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In the latter part of the work the author includes a number of ritual for working with demons listed and methods for preparing one's body for working with spirits. The author includes a number of personal accounts where he describes trying a number of mind-body exercise techniques. Some worked well for him, others not. He concludes that Ashtanga Yoga was the best method for him to prepare his body for direct spirit contact. </div>
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The final section includes a series of evocation techniques designed to make spirits visible. By "visible" the author means in the 'mind's eye' or through the assistance of thick incense and imaginal thinking. As many reading this will know, this is an age-old technique. The theory is that entities can use the smoke to enshroud their forms (or energy fields) making them slightly visible. Parapsychologists use a similar technique using Van de Graff generators to super-charge a room with ambient energy to theoretically provide energy for an apparition to manifest -- <i>ghost fuel</i>, one might say. </div>
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The other theory is that forms are seen via the brain's imaginative power, a process called 'matrixing' -- basically interpreting recognizable shapes in clouds. Either way, it is a valuable method for tapping into one's subconscious, or Jung's idea of collective unconsciousness.</div>
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Now for the book itself:</div>
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In this review I will be commenting on the 'Special Reserve Edition'. This edition is the first deluxe edition published by Nephilim Press. While is it a relatively modest production, it is nevertheless an impressive start for the publishing house. Subsequent deluxe editions from Nephilim Press have been even more impressive, such as the Funerary Templar edition of <i>Keys of Ocat</i> by S. Connolly, which is beautifully bound and includes a bag of bones for divination. </div>
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<i>The Book of Azazel</i> is bound in full black leather (bonded leather, I believe). The leather is very smooth, with only the faintest grain, lending a very sleek and contemporary presentation. It has no noticeable scent. The cover is appropriately blocked in gold with the symbol known as "The Goetic Circle of Pacts", aka, "The Circle of Demonic Pacts" from <i>The Grand Grimoire</i>. Unfortunately, the spine is left blank and without title or publishers mark, a feature I feel would have benefited the book greatly. When one has a number of books on their shelf with blank spines it becomes difficult to locate particular works. It should be noted that subsequent deluxe editions from Nephilim Press have included titles on their spines. Endpapers are solid black, as are the head/tail bands. The book includes a red ribbon bookmark. Pages are light cream colored (a nice shade that is easy on the eye) and of moderate weight. Type is clear and sharp, including the aforementioned red text. Stamped limitation number.</div>
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Now for the most interesting and unique part of this book... </div>
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From the publisher:</div>
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<span style="text-align: start;">"The internals of the Special Reserve Edition are the same as the Limited edition but there is also something extra. Information has been distributed throughout the pages of the book that is invisible to the human eye. It can be seen, but the owners of the book will have to figure out how to view it. This was done for two reasons. The information is hidden to prevent those who would try to use it without truly understanding its power from causing harm to themselves and, as this book is talismanic, to prevent the book itself from being corrupted by “</span><i style="text-align: start;">things” </i><span style="text-align: start;">that would seek to use its inherent power against the owner</span><i style="text-align: start;">."</i></div>
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Indeed there is hidden information within this book. Read below to find out how it can be accessed. Or if you prefer to discover the book's secrets on your own <u><b>stop reading here</b></u>.<br />
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*spoiler alert*<br />
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Additional information has been cleverly added to <i>The Book of Azazel</i> through the use of invisible ink that can only be seen under a black light. Each copy has a dozen or so pages spaced throughout the book containing hand-drawn astrological symbols, Hebrew letters, and various sigils. Some appear to be planetary hours for evocation. Others I will leave to the reader to decipher their meaning. I should note that because of the ghostly nature of the ink, some symbols can be a little difficult to read.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEQ_19NFe71JJy_LExU25hz6y-D4d8_rDka0nY-K2H9ZdnEdlvaKBh0-H2OwM4y0vkZernospWIDylAHZmVWO9mpJOaKF131dUVO5qHqldAyd5DntmLIDuqGU54vTfE9a8AC8RTD5aV0Oy/s1600/DSC06305.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEQ_19NFe71JJy_LExU25hz6y-D4d8_rDka0nY-K2H9ZdnEdlvaKBh0-H2OwM4y0vkZernospWIDylAHZmVWO9mpJOaKF131dUVO5qHqldAyd5DntmLIDuqGU54vTfE9a8AC8RTD5aV0Oy/s320/DSC06305.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Black light box (short and long wave)</td></tr>
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I used a black light box (see above photo), but any black light should do the trick. My apologies for the poor quality of the low-light images.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOovOMpNauDCkLgNh5PRwWMd5Tv4CNQz92TvBxesw_YrR65rYRSVyQAMysHfl4C_mpWayI6Clr-d2Oy4XXOPoqUS3aQkIWDJgDrtWdoWWE3xY9KCZ2j1yAGaFPWXr09iDZDIESLGLPioo/s1600/DSC06310.JPG"></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOovOMpNauDCkLgNh5PRwWMd5Tv4CNQz92TvBxesw_YrR65rYRSVyQAMysHfl4C_mpWayI6Clr-d2Oy4XXOPoqUS3aQkIWDJgDrtWdoWWE3xY9KCZ2j1yAGaFPWXr09iDZDIESLGLPioo/s1600/DSC06310.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOovOMpNauDCkLgNh5PRwWMd5Tv4CNQz92TvBxesw_YrR65rYRSVyQAMysHfl4C_mpWayI6Clr-d2Oy4XXOPoqUS3aQkIWDJgDrtWdoWWE3xY9KCZ2j1yAGaFPWXr09iDZDIESLGLPioo/s320/DSC06310.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOovOMpNauDCkLgNh5PRwWMd5Tv4CNQz92TvBxesw_YrR65rYRSVyQAMysHfl4C_mpWayI6Clr-d2Oy4XXOPoqUS3aQkIWDJgDrtWdoWWE3xY9KCZ2j1yAGaFPWXr09iDZDIESLGLPioo/s1600/DSC06310.JPG"></a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHkciTulq18s8JOi6m6r5oS5ZItcJOqp2KZwaoAyFxeRC59oABLWxV7TF3ZqmJMnJsq8mUZsjKL1s4yF3poCn3c5ucNb_R1vwIfgM4DbSWZqKCVTOATUrXqVpuj2pHVn__ZrZyq4cWZ2u/s1600/DSC06307.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHkciTulq18s8JOi6m6r5oS5ZItcJOqp2KZwaoAyFxeRC59oABLWxV7TF3ZqmJMnJsq8mUZsjKL1s4yF3poCn3c5ucNb_R1vwIfgM4DbSWZqKCVTOATUrXqVpuj2pHVn__ZrZyq4cWZ2u/s320/DSC06307.JPG" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOovOMpNauDCkLgNh5PRwWMd5Tv4CNQz92TvBxesw_YrR65rYRSVyQAMysHfl4C_mpWayI6Clr-d2Oy4XXOPoqUS3aQkIWDJgDrtWdoWWE3xY9KCZ2j1yAGaFPWXr09iDZDIESLGLPioo/s1600/DSC06310.JPG"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOovOMpNauDCkLgNh5PRwWMd5Tv4CNQz92TvBxesw_YrR65rYRSVyQAMysHfl4C_mpWayI6Clr-d2Oy4XXOPoqUS3aQkIWDJgDrtWdoWWE3xY9KCZ2j1yAGaFPWXr09iDZDIESLGLPioo/s1600/DSC06310.JPG"><br /></a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6VgPWDD13R13t2miERL3C-MPATOVhE18yuL02iZSJkOI5D3UetTnRqoQhf_FGZqiSvWzfI4dHzbkmkas1FiGssbo5VWjRM7UsEH8OynBnKQ2CzoAGoaJb0PVlOFax8t98or7uzJeHXXdR/s1600/DSC06309.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6VgPWDD13R13t2miERL3C-MPATOVhE18yuL02iZSJkOI5D3UetTnRqoQhf_FGZqiSvWzfI4dHzbkmkas1FiGssbo5VWjRM7UsEH8OynBnKQ2CzoAGoaJb0PVlOFax8t98or7uzJeHXXdR/s320/DSC06309.JPG" width="320" /></a></div>
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In conclusion, <i>The Book of Azazel</i> is a striking example of a post-modern grimoire. It is my hope that elements of this book will serve as a model for other contemporary works of magic, particularly the willingness to experiment and attempt something that has never been done within occult publishing. The use of invisible ink is truly a wonderful idea. It continues a long tradition of hiding knowledge in plain sight. In the past, secret knowledge was protected via intentional blinds or coded within symbolic imagery. Today we have invisible ink to hide it from the eyes of the profane. I hope this book inspires other writers and publishers to push boundaries and experiment with what the 21st century has to offer.<br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcjOd1teT04opormXBFqMwdNHLZMHMH8csW_ZAsQTMZ1NPZJN4aDho3Yk4eb5k3av_ubRh4h7VX8rSeHIlhDp_LWapIBK2Cn9qPbqpEUZ25hNSpIWs7Xko6l4Z5XHSPqn71Dw2cKw2AZeh/s320/DSC06120.JPG" /></div>
Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com14tag:blogger.com,1999:blog-1351715704059341447.post-56934074985285862782013-10-30T18:52:00.000-07:002013-10-30T18:52:03.437-07:00News updateJust a little news update:<br />
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De Occulta Philosophia has just published an interview with yours truly titled, "Reviewing the Modern Grimoire: Balkan's Arcane Bindings". The interviewer asks some really good questions, allowing me the opportunity to voice my opinions on a various aspects of contemporary occult publishing. The interview can be read at this link:<br />
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<a href="http://deoccultaphilosophia.tumblr.com/post/65293303994/reviewing-the-modern-grimoire-balkans-arcane-bindings">Reviewing the Modern Grimoire: Balkan's Arcane Bindings.</a><br />
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Also...<br />
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Manfred the Mandrake</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVItr2dcpdNCqlggee9WjmePt4pcGHdrG9E_g4MY0BYi6Uh2_n7LYgMqZWwZCYIDWuE7vSk5VxTRg792sIEkmHuWRmvTkK12FXpYZegZxvrGd16SdKfjKY3sNMCap-85mYrazu9XN6_93L/s1600/DSC06145.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVItr2dcpdNCqlggee9WjmePt4pcGHdrG9E_g4MY0BYi6Uh2_n7LYgMqZWwZCYIDWuE7vSk5VxTRg792sIEkmHuWRmvTkK12FXpYZegZxvrGd16SdKfjKY3sNMCap-85mYrazu9XN6_93L/s320/DSC06145.JPG" width="240" /></a></div>
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After a prolonged dormancy, and just in time for Halloween, Manfred the mandrake has awakened from his slumber with a burst of new growth. Growing mandrakes can be <u>extremely</u> difficult, but for those willing to give it a try, I highly recommend contacting Harold Roth at Alchemy Works for purchasing seeds. </div>
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Link: <a href="http://www.alchemy-works.com/">Alchemy Works</a></div>
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C. J. S. Thompson's book, <i>The Mystic Mandrake </i>(1975) is well worth the read too.<br />
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Lastly, I will be spending the first part of November on a spiritual sojourn that will take me high up into the Rocky Mountains. Internet connection may be spotty at best. This may delay my next book review a little, though I hope to get it posted here soon. <br />
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<u>Next book review</u>: <i>The Book of Azazel: The Grimoire of the Damned</i> by E. A. Koetting (Special Reserve edition), published by Nephilim Press.<br />
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Sincerely,<br />
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B. Balkan<br />
<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com0tag:blogger.com,1999:blog-1351715704059341447.post-53978520549830723062013-09-18T20:36:00.000-07:002013-09-24T18:41:19.709-07:00Serpent Songs curated by Nicholaj De Mattos Frisvold <div class="separator" style="clear: both; text-align: center;">
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Scarlet Imprint 2013. 224 pages. Large octavo. Black-and-white photos and illustrations.<br />
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Available in three editions:<br />
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<b>Bibliotheque Rouge digital edition</b>: (available as an epub and mobi files).<br />
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<b>Sylvan edition</b>: Cloth-bound hardcover. Limited to 750 copies.<br />
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<b>Serpentine edition</b>: Full leather with slipcase. Limited to 64 copies. Sold out at publisher.<span style="background-color: white; font-family: 'Roos Roman';"><br /></span>
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Serpent Songs</i> is Scarlet Imprint's newest anthology of unique voices from the occult underground. I am continually amazed by how SC is able to locate practitioners of extremely obscure traditions. This alone is a notable feat, but to find practitioners who are both sane and proficient writers is a miraculous accomplishment. The anthology is curated by Nicholaj De Mattos Frisvold (also a contributor). This book's theme is 'Traditional Witchcraft', however one happens to define the term.<br />
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<span style="font-family: Roos Roman;"><br /></span><span style="font-family: inherit;">The term 'Traditional Witchcraft' is regarded as a rather loaded term within certain circles. Argument often arises over what it really means, how accurate of a term it is, or if it is a useful descriptor at all. When this book was first announced I was afraid it would contain a series of ramblings and arguments over the definition of 'Trad Craft', or which group claims rightful ownership of the term. Thankfully neither was the case -- far from it. I should know by now to put more faith in SC's editorial acumen. Lesson learned.</span><br />
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<span style="font-family: inherit;">Before I get into the full review, allow me to tell you an amusing story about my experience with some folks within "Trad Craft" and why it I was so apprehensive about the subject... Some years ago, after reading inspiring works by Andrew Chumbley, Nigel Jackson, Daniel Schulke, Robert Cochrane, Michael Howard, Carlo Ginzburg, et al., I happened across a popular web forum dedicated to discussing 'Traditional Witchcraft'. However, unless one was a full-fledged member one had limited access. Without membership one could only read select threads and was unable to post or be part of discussions. I was curious to read what others' opinions were about so-called 'Traditional Witchcraft' and attempted to join the site. Only it wasn't that easy. I had to write an essay about what the term 'Traditional Witchcraft' meant to me. Fair enough. It figured it was their way to weed out teenagers and lunatics, and it might be a useful way to get some conversation going.</span><br />
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I actually enjoyed the exercise. What <i>did '</i>Traditional Witchcraft' mean to me? After some deep consideration I wrote my thoughts out and submitted my summary. Unfortunately, (or not) my answer was not the 'correct' answer. My take on TW did not match theirs presumably. I was refused permission to join. This struck me as odd, as they specifically asked what 'Traditional Witchcraft' meant to <i>me -- </i>there should be no wrong answer to this. Maybe I didn't romanticize it enough. Maybe my avatar pic should have been spookier. Who knows. There's nothing wrong with having requirements, or even high standards, but one should always have room for new opinions to avoid the echo-chamber of 'group think'. In any case, it is the forum moderators' prerogative to decide who may join. I respect that. My interest in membership had withered. That single glimpse into their insular belief structure spoke volumes. I surmised I was dealing with yet another dogmatic group unwilling to have its beliefs questioned; a group with a high wall built to shelter fragile egos. </span><br />
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So there you go. </span><br />
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I should note that I have since encountered other groups that have far more acceptance of diverse ideas. For example, I recently requested permission to join a Facebook group about Traditional Witchcraft in the New World. I was allowed membership in less than a minute. Quite a contrast. Thanks again, Mr. Erwin.</span><br />
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Because of my past experiences I found the attitudes expressed in Serpent Songs to be a welcome breath of fresh air. The authors are lucid, erudite, sincere, and above all open-minded. The essays contain a rich diversity of regional European practices spanning from Norwegian Trolldom to Italian Stregoneria; from Basque folkways to Bogomilism in the Balkans. A few authors touch upon New World traditions such as Hoodoo and working with the spirits of indigenous animals.<span style="font-family: Roos Roman;"><br /></span>
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<u>Contents</u></div>
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<li><em>Prelude: The Other Blood</em> - Nicholaj De Mattos Frisvold</li>
<li><em>The Witch's Cross</em> - Gemma Gary</li>
<li><em>The Spirit of True Blood</em> - Shani Oates</li>
<li><em>Lezekoak </em>- Arkaitz Urbeltz</li>
<li><em>A Gathering of Light and Shadows</em> - Stuart Inman and Jane Sparkes</li>
<li><em>The Fall and Rise of an English Cunning One</em> - Tony MacLeod</li>
<li><em>Stregoneria, A Roman Furnace</em> - Nicholaj De Mattos Frisvold</li>
<li><em>But the House of my Father will stand</em> - Xabier Bakaikoa Urbeltz</li>
<li><em>Bucca and the Cornish Cult of Pellar</em> - Steve Patterson</li>
<li><em>Exorcists, Conjurors and Cunning Men in Post-Reformation England</em>- Richard Parkinson</li>
<li><em>The Liturgy of Taboo</em> - Francis Ashwood</li>
<li><em>Trolldom</em> - Johannes Gardback</li>
<li><em>Bogomilian and Byzantine influences on Traditional Craft</em> - Radomir Ristic</li>
<li><em>But to assist the Soul's Interior Revolution, the art of Andrew Chumbley and aspects of Sabbatic Craft</em> - Anne Morris</li>
<li><em>Passersby: Potential, Crossroads & Wayfaring on the Serpent's Road</em>- Jesse Hathaway Diaz</li>
<li><em>The Mysteries of Beast, Blood and Bone</em> - Sarah Lawless</li>
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For the sake of brevity, I will not comment on every contribution, but I will share some thoughts and observations on a few:<br />
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Gemma Gary's essay, <i>The Witch's Cross</i>, offers terrific insight into Cornish witchcraft. Her writing style is both elegant and informative. She is able to clearly convey the essence of her tradition, both from a practical <i>and</i> spiritual standpoint, without getting bogged down with minutiae or becoming too abstract. Her essay also includes one of her black and white illustrations.</div>
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Shani Oates' essay, <i>The Spirit of True Blood</i>, is stunning. The wisdom she presents to the reader is literary gold. Oates avoids the term 'Traditional Witchcraft' and prefers the simplified "Traditional Craft", believing it to have less baggage and negative associations. Early on, she and her clan felt that defining their practice as 'witchcraft' (and themselves as witches) would be self-limiting. She understands that no tradition exists within a vacuum and is keenly aware of significant influences within her tradition which can be traced back to other Western Mysteries; namely, Hermeticism and Gnosticism.</div>
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In direct contrast to the Trad Witchcraft forum mentioned above, Oates states:</div>
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The Craft is the thread that thrives as an underground stream. Its fierce abnegation of dogma offers succor that generates a mystical path, of hermitage and evolution. Its source honours the pagan path, yet seeks the transcendent infusion that ignites those animisms. It presents to every seeker an objective goal that allows their subjective need for a devotional path to overwhelm and elevate them as journeymen upon a road shared by others of similar vision ... it denies no-one, yet accepts only those who grasp the thorn. It is in fact the magic of the soul, a spiritual alchemy masterfully borne in the crafting of matter.</blockquote>
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I enjoyed Johannes Gardback's exploration of Trolldom tremendously. His dry humor had me laughing out loud. The essay guides the reader step-by-step though a ritual he performed on a couple to remove a hex. Gardback's straightforward and non-apologetic style was a welcome contrast to a couple other essays that struck me as rather turgid and needlessly ornamented with esoteric abstractions. Some people enjoy essays on magic that twist and contort into verbal witches' knots. As for me, I have to be in the right mood to appreciate heady linguistic entanglements. Needlessly abstruse phrasing is occasionally used to veil secrets, but more often than not it is just fancy wrapping paper covering an empty box.<br />
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<em>But to assist the Soul's Interior Revolution, the art of Andrew Chumbley and aspects of Sabbatic Craft</em> by Anne Morris was very enjoyable. It was perhaps one of <i>Serpent Song's</i> most scholarly inclusions. Mrs. Morris has an uncanny understanding of Chumbley's artistic vision, what she calls "a metaphor for the divine". This essay stood out, as it does not aim to describe a particular tradition or its history per se, but instead details the way in which a tradition became manifest through the dreams and artistic vision of one individual. It's a wonderful essay; however, it would have benefited greatly by the inclusion of one of Chumbley's drawings. His drawings are highly symbolic, abstract, and difficult to put into words -- some were even created via automatic drawing. Thus, a visual reference would have been useful for those unfamiliar with his work. But of course there is always Google 'image search'. Perhaps it was due to a copyright issue.</div>
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As a side note: I first encountered Chumbley's art back in '99 within the pages of <i>ESOTERRA: The Journal of Extreme Culture</i>, issue #8. Inside was a short story titled "The Nightmare Network" and an interview with the author titled, "Triangulating the Demon: An Interview with <a href="http://en.wikipedia.org/wiki/Thomas_Ligotti">Thomas Ligotti</a>", one of my favorite fiction authors. Please, do yourself a favor: <i>read him</i>. Five black-and-white drawings accompanied the Ligotti pieces which seemed extremely appropriate considering Ligotti's usual themes of otherworldliness, deformity, nightmarish landscapes. In fact, I assumed they had been commissioned specifically for the story and interview. When presented together, Ligotti and Chumbley have a way of amplifying their work's dark message, like a phantasmagoric duet, and becomes something greater than the sum of its parts.<br />
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But I digress...<br />
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Steven Patterson's essay, <em>Bucca and the Cornish Cult of Pellar, </em>will be of great interest to both the practitioner and folklorist. His research into Cornish myth and the etymology of the word/name 'Bucca' is incredibly fascinating. I am greatly anticipating Patterson's next work concerning the life and works of Cecil Williamson, founder of the <a href="http://www.museumofwitchcraft.com/">Museum of Witchcraft</a> in Boscastle, Cornwall, who Patterson describes as, "one of the great unsung heroes of the twilight world of folklore and witchcraft". It will be titled, <i>Cecil Williamson's Book of Witchcraft: A Grimoire of the Museum of Witchcraft </i>and published by Troy Books.<br />
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Now on to the book itself...<br />
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In this review I will be reviewing the deluxe 'Serpentine Edition'. Bound in full green leather (roughly the color of a Green Tree Python) with black and gold accents, the Serpentine Edition is bound to entrance its owners. It was probably tempting to give this book a snakeskin binding, considering the title and theme. Snakeskin has recently become a popular material in esoteric publishing, including a number of Trident Books titles, the deluxe edition of <i>Veneficium</i> by Daniel Schulke, Transmutation Press' reissue of <i>Ophiolatreia</i>, and the forthcoming deluxe editions of <i>Altar of Sacrifice </i>by Mark Alan Smith, and <i>The Book of Sitra Achra</i> by N.A-A.218. As luxurious as snakeskin is, I believe leather was a wise choice for this particular book considering the practices described therein are practical, humble, and rural. A snakeskin binding may have been a bit too grandiose in this instance. The publisher does not indicate what type of leather was used (calf? goat?), though it feels buttery soft and is more yielding to the touch than some of their other leather editions. The scent of the leather is subtle with a faint hint of grassy sweetness.<br />
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The cover is ornamented in a two-tone design blocked in black and gold. The central device is a stylized vesica with a coiled serpent-- or is it an eye? Perhaps it is a germinating seed, or all of these. Corners sport decorative serpent patterns creating a design reminiscent of Art Nouveau. The spine is also blocked in black and gold with twin serpents and gilt title. Page edges are gilded. Included is a black ribbon bookmark with matching black head/tail bands.<br />
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The book opens to <u>amazing</u> custom marbled endpapers. The design gives the illusion of snakes weaving vertically up and down the page -- a really nice touch and a sign that the designer put a lot of thought into this edition's presentation. The paper is high quality, light cream, and heavy weight, a type that has become a Scarlet Imprint standard. The text block has nice generous margins, but the font size is a tad small for my taste. I much prefer the size SC used in Nicholaj De Mattos Frisvold's <i>EXU</i>. Having the type just a hair bigger seems to make a big difference. Like the cover, the text is printed in two colors, black & gold. Chapter headings are printed in gold, as are the decorative illuminated letters beginning each section. The Serpentine Edition comes with a slipcase covered in chartreuse cloth. It is lined with soft black felt to prevent wear to the cover design.<br />
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<i>Serpent Songs</i> is yet another powerful anthology by Scarlet Imprint that celebrates diversity in modern magic. SC's editors have developed and discerning eye for uncovering unique cultural and ethnic variances within specific subsets of larger traditions. Their anthologies are like magical photo albums documenting the hidden practices of our age. Each entry is a snapshot of a specific tradition, philosophy, or spiritual framework that gives us a sense of the past, a connection to the present, and a forecast of the future.</div>
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com2tag:blogger.com,1999:blog-1351715704059341447.post-88899597498599547642013-08-07T10:25:00.002-07:002013-09-19T19:11:59.680-07:00The Sacrificial Universe by David Chaim Smith<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidEpcDC1q54pSHw0bvDCDTLbx2tjtd9ZncoXtrXQBLkjQPKa9lZJkXGMwPLlUgzBOskpLACF8YwrX6K_cTY7vmV6EzPt7jO7BoY-qxw5lUo2Md-pN7PdzRF6WYqCQDYZWMf5A01jHaWvPa/s1600/DSC05942.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidEpcDC1q54pSHw0bvDCDTLbx2tjtd9ZncoXtrXQBLkjQPKa9lZJkXGMwPLlUgzBOskpLACF8YwrX6K_cTY7vmV6EzPt7jO7BoY-qxw5lUo2Md-pN7PdzRF6WYqCQDYZWMf5A01jHaWvPa/s320/DSC05942.JPG" width="240" /></a></div>
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<a href="http://fulgur.co.uk/">Fulgur Ltd.</a> 2012. 120 pages. Small folio. Black and white illustrations.<br />
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Available in two editions:<br />
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<b>Standard edition</b>: Cloth-bound hardcover with dust-jacket. Limited to 800 copies.<br />
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<b>Deluxe edition</b>: Quarter-bound leather hardcover with dust-jacket and slipcase. Limited to 88 copies. Sold out at publisher.<br />
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<blockquote class="tr_bq">
"The entire lower world was created in the likeness of the higher world. All that exists in the higher world appears like an image in this lower world; yet all this is but One." -- The Book of Zohar</blockquote>
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<a href="http://fulgur.co.uk/">Fulgur Ltd</a>. has a unique (and crucial) role in the occult publishing industry. While most esoteric publishers focus primarily on beliefs, techniques, formulae, and philosophies of various traditions (from ancient and contemporary) -- essentially creating 'how to' books -- Fulgur Ltd. takes a far more abstract approach to the way it presents magical practice. To date, the publisher's primary focus is publishing works which explore and celebrate the esoteric in art (primarily visual art). They have published books featuring esoteric artists such as Orryelle Defenestrate-Bascule, Barry William Hale, and of course, Austin Osman Spare. This approach has recently blossomed into a full esoteric art exhibition titled "<a href="http://fulgur.co.uk/events/exhibitions/image/">I:MAGE</a>" held last May in London.<br />
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In 2012, Fulgur Ltd. added David Chaim Smith to their talented lineup and published <i>The Sacrificial Universe. </i>It is an utterly fascinating book containing artwork reminiscent of symbolic alchemical illustrations. Smith's work also appears to pay homage to the celestial, and often cryptic, artwork of <a href="http://en.wikipedia.org/wiki/Dionysius_Andreas_Freher">Dionysus Andreas Freher</a> (1649-1728) which accompanies the mystical texts of Jakob Boehme. Each image is like a window into the inner mechanisms of the universe, revealing how all things are possibly interconnected. <br />
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The book contains 30 full-page plates, five folding triptychs, and a quadriptych. The artwork contained within <i>The Sacrificial Universe</i> is stunningly unique, yet I think it is fair to compare it to Smith's style a few artists in particular. It has biomorphic/biomechanic aspects reminiscent of <a href="http://www.hrgiger.com/">H.R. Gige</a>r, the structure and spiritual depth of <a href="http://en.wikipedia.org/wiki/Dionysius_Andreas_Freher">Dionysus Andreas Freher</a>'s works (as aforementioned), and has the textual elements and diagrammatical presentation and function of the "magical machines" of <a href="http://paullaffoley.net/">Paul Laffoley</a>. One of the most curious and paradoxical aspects of Smith's art is that he uses physical matter: organs, Alchemist's flasks, roots, horns, and other amorphous and organic forms to illustrate highly spiritual <i>non</i>-material principles.<br />
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<i>The Sacrificial Universe</i> is not written for the beginner. The book presents a highly complex Kabbalistic philosophy (or an exceedingly simple one depending on one's understanding). Those with little understanding of Qabalah (however one chooses to spell it) may have difficulty following his logic and conclusions -- but that is part of the beauty of art; even with little understanding of Qabalah one may still be able to intuitively glean esoteric understanding by Smith's remarkable artwork. Various elements and form may resonate with some readers on an instinctual or unconscious level. That said, readers will benefit greatly by having a basic understanding of Hebrew, as nearly all of Smith's works incorporate Hebrew letters into their design and structure. Thus, each piece is essentially a coded cipher loaded with many potential layers of meaning.<br />
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The book is divided into three parts:<br />
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Part One<br />
<ol>
<li>The Birth of the Sacrificial Language</li>
<li>The Heart of the Matter</li>
<li>Sacred Geometry of the Serpent's Crown</li>
<li>An Ocean of Copulating Reflections</li>
<li>Mysteries of the Double Hexagram</li>
<li>The Nine Keys</li>
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Part Two</div>
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<li>Penetration of the Dream Membrane</li>
<li>The Magical Language of Biomorphism</li>
<li>The All-Burning Prayer of Cognizance </li>
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Part Three</div>
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<li>The Gnosimic Verses</li>
<li>Three Seals</li>
<li>Three Aspects of Gnosis in Six Manners of Investigation</li>
<li>The Heart Adorned with the Serpent's Crown</li>
<li>A Blazing Mirror of Itself</li>
<li>Commentary on the Stages of Ideational Contemplation</li>
<li>Funeral for the Empire of Witness</li>
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This is not 'New Age' Qabalism. Smith has stated that his primary influences are Medieval Qabalistic (Kabbalistic) sources such as <i>The Book of Zohar</i>, <i>The Book of Contemplation</i>, and <i>The Fountain of Wisdom</i>. This makes for some heavy reading. I'll be honest and admit that a few parts were a bit beyond my understanding. I do not fault the author; he does his best to explain highly complex concepts as best he can, rather, Smith helped me discover the gaps I have in my understanding of advanced Qabalistic thought. This is not a book to be hastily devoured. I suspect it will require a great deal of study, pondering, and revisiting from serious readers as the book slowly reveals its secrets over time. Each image is worthy of hours of contemplation.<br />
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Fulgur Ltd. has built a solid reputation for printing very high-quality books; <i>The Sacrificial Universe</i> exemplifies their high standards. The Deluxe version of the book is quarter-bound in beautiful, dark gray, morocco with gray cloth boards. It includes a hand-written limitation number and is signed by the author. The title is blocked in red on the spine. The cover contains a Qabalistic device (also blocked in red -- one of Smith's diagrams) which stands out nicely against the dark gray background. The book includes custom endpapers and red head/tail bands. Artwork and text is printed on heavy paper with a matte finish. Page ends are finished in silver foil lending the book a lavish look. A sturdy slipcase in matching gray cloth is also provided. <br />
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Like the standard edition, the Deluxe edition comes with a dust-jacket which has a very interesting and unusual texture -- almost rubbery. The cover sports one of Smith's illustrations. I have always found it perplexing why Fulgur includes dust jackets on their Deluxe and slip-cased books. Why cover up a beautifully bound leather book with a paper dust-jacket? A slip-case provides ample protection making a dust-jacket superfluous. Of course one can always remove the jacket, but most collectors prefer to keep their books 100% intact. Furthermore, dust-jackets can become easily worn or torn by sliding the book in and out of slipcases. In my opinion, clam-shell cases work much better for books with dust-jackets, as one lifts the book directly up and out rather than sliding and creating friction. To minimize wear, I have chosen to cover my dust-jacket with an archival jacket protector. I prefer <a href="http://www.shopbrodart.com/Book-Jacket-Cover/_/Brodart-Just-A-Fold-III-Archival-Book-Jacket-Covers/?s=MjoxNjo1Ojo6Ojo6MDo%3d">Brodart's Just-A-Fold III</a> jacket protectors. They are polyester, very durable, and are 100% acid free -- see photo directly below.<br />
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<i>The Sacrificial Universe</i> is a must-have for anyone who appreciates esoteric art regardless of one's path or area of study. Smith's art transcends cultural barriers through the use of sacred geometry, universal forms, and natural symbolism. His works are visual journeys that take the viewer on a kaleidoscopic and labyrinthine path of inner discovery and alchemical transformation. I am in awe of his talent and greatly look forward to his next book, <i>The Blazing Dew of Stars</i>, to be published soon by Fulgur Ltd.<br />
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com2tag:blogger.com,1999:blog-1351715704059341447.post-44940542070459106752013-07-06T08:58:00.001-07:002013-07-07T19:43:26.794-07:00Threshold: Black Magic and Shattered Geometry By Ryan Anschauung & the Temple of THEM<a href="http://www.fallofman.eu/releases.html">Fall of Man</a> 2011. 207 pages total. Duodecimo (Twelvemo). Black and white illustrations by Namtaru Creations. Four volume set.<br />
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Available in a single edition:<br />
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<b>Standard edition</b>: Four softback booklets with black suede slipcase, limited to 338 copies. As of this writing, the publisher has noted they are down to their last copies.<br />
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I do not normally review paperback editions, but this set had such a unique presentation that I felt it deserved a brief mention and review. <a href="http://www.fallofman.eu/releases.html">Threshold: Black Magic and Shattered Geometry</a> is a four volume set containing commentary on various aspects of the darker side of post-modern magic. The individual book titles are as follows:<br />
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<ul>
<li><span style="color: red;">T</span>ERATO (60 pages)</li>
<li><span style="color: red;">H</span>ARUSPEX (54 pages)</li>
<li><span style="color: red;">E</span>NGRAM (43 pages)</li>
<li><span style="color: red;">M</span>ALEFICIA (50 pages)</li>
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One will immediately notice that the first letters of the titles create the word, "THEM", referring to the magical body "The Temple of THEM". The first volume, TERATO establishes a baseline for the group's belief system, which appears to be a mixture of post-modern currents such as Satanism (the authors' own take on the term), Chaos-Magic, and psychological concepts of "Ego","Self", and the "Id". The author presents a duelistic world view of two apposing forces, the "Magian" representing the status quo, control systems, and obfuscation, and the "Satanist", representing individuality, rebellion, and liberation.</div>
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The second volume, HARUSPEX, contains the authors' general philosophy, and some personal experiences, It's heavy on opinion, including a few rants about Man's laziness, reliance upon superstition, and the need for women to play a larger role in occultism. It also touches upon techniques for readers to govern and channel their emotions to work for them rather than against them. Lastly, the booklet discusses elements of sigil magic, sympathetic magic, and visualizations.</div>
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The third volume, ENGRAM includes what The Temple of THEM consider the "Fundamentals of Magic". It also contains a number of invocations, rituals and alchemical distillations of planetary intelligences. It concludes with a inspired ritual for "Rain Magic*k" that is rather unique. Of the four booklets, this one contains the most practical and instructive information for readers.</div>
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The fourth volume, MALEFICIA, deals primarily with sex magic, "Narrative Magick", and psychic vampirism. It includes rituals on how to attract members of the opposite sex. The section on psychic vampirism, includes a number of rituals for both protecting/shielding oneself and methods of energy exchange. It ends with a Glossary of terms unique to The Temple of THEM. This is a welcome addition, as magical groups tend to develop their own internal phrases and terminology that may not translate well outside the group.</div>
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The booklets themselves are made of simple red card stock with printing in black. The pages are white with a satin texture. Numerous illustrations by Namtaru Creations are found throughout all four volumes. Booklets come with a black suede slipcase blind stamped with one of The Temple of THEM's symbols, a circle with four tendrils turning widdershins about vertical mark (perhaps an "I", or a Roman numeral 1). I found that the slipcase was a bit too tight for the booklets. The books fit exact with no wiggle room. One has to uncomfortably force the fourth book in to make it fit. This could be a problem with my particular slipcase and may not reflect other copies. </div>
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Overall<i> Threshold: Black Magic and Shattered Geometry</i> is an interesting body of work. At times it reads like a manifesto of the Temple of THEM's particular beliefs and magical outlook. The authors' have strong opinions on a number of subjects. Readers are unlikely to agree with all of them, but they will likely find some value in the discussion, and perhaps be struck by a few flashes of insight that they can apply to their own practice. I'm going to assume that Ryan Anschauung is the primary author: His writing is very clear and concise and not overburdened with black magic mumbo-jumbo, which plagues so many occult books these days. His writing also reveals significant experience within a diverse range of occult topics. I hope to see more from him. Lastly, Fall of Man should be applauded for trying something new and publishing <i>Threshold: Black Magic and Shattered Geometry</i> in such an interesting (and affordable) format. Also look for their newest release,<i> Lemulgeton - Goetia and the Stellar Tradition</i> by Leo Holmes. Available in two affordable editions <a href="http://www.fallofman.eu/releases.html">HERE</a>. </div>
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Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com7tag:blogger.com,1999:blog-1351715704059341447.post-4071987966748417692013-06-02T17:06:00.000-07:002013-09-22T06:50:48.859-07:00The Catechism of Lucifer by Johannes Nefastos<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.ixaxaar.com/">Ixaxaar</a> 2013. 80 pages. Decimo-sexto (Sixteenmo). Black and white illustrations.<br />
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Available in two editions:<br />
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<b>Regular edition</b>: Bound in black fauxleather, limited to 1200 copies.<br />
<b>Leather edition</b>: Bound in full black goatskin, limited to 100 copies. Sold out at publisher.<br />
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<blockquote class="tr_bq">
"Whoever has come to understand the world has found (only) a corpse, and whoever has found a corpse is superior to the world." -- <i>The Gospel of Thomas</i></blockquote>
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<i>The Catechism of Lucifer</i> first appeared in 2003. It was originally printed in Finnish and limited to 100 copies. Now, ten years later, Johannes Nefastos and Ixaxaar have published this devotional work of Gnostic Luciferiansim in English. The work is presented in the same format as <i><strike>The Catechism of the Catholic Church </strike> Luther's Catechism, </i>being slim, small (pocket-sized), and with a similar text structure and layout, as can be seen by the book's major sections:<br />
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For the Reader<br />
Sources<br />
Preface to the English Version<br />
The Ten Commandments (Commandments I-X)<br />
The Commandments - A Path of Wisdom<br />
Credo (Creeds I-III)<br />
Magister Noster (Articles I-VI)<br />
Of Lucifer's Sacraments<br />
Of Demons<br />
Of Magic<br />
Of the Responsibility of the Individual<br />
Of Satan<br />
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I must confess: I had my doubts about this book when it first became available. I was a bit dubious, for I was afraid it would be a simple inversion of <i>Luther's Catechism</i> and presented as a mocking satire, much in the way the infamous Black Mass is a satire of the Catholic Mass through heretical inversion. While such acts do have some historical basis, and breaking cultural taboos can be used as a powerful psychological technique for triggering altered states of consciousness, I was concerned that its approach would amount to a trite and polemic gimmick via the reversal of a few key words or themes. However, my concerns were put at ease immediately after reading the author's introduction. The main element differentiating this work from <i>Luther's Catechism</i> is its lack of dogma. In the introduction the author states,<br />
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"It should be remembered that this particular book is about theosophical Luciferianism, and that there are other true aspects of Luciferian gnosis of ascension. Let us not get imprisoned by these tenets of faith, brothers & sisters, but let us be liberated by them, by the spirit of devotion they try to represent."</blockquote>
This statement makes <i>The Catechism of Lucifer</i> an entirely different animal than the book it is modeled after, the latter being a compendium of strict laws and "truths" that are to be followed to the letter. The titles of some of Nefastos' Ten Commandments appear on the surface to be the standard ten turned on their head; however, instead they are actually a series of deep Gnostic meditations quite removed from the standard Catholic Catechism. He further deviates from the Catholic structure by offering a number of deeper philosophic questions and arguments. In fact, even Christians may find these new Commandments useful, as they may gain a different perspective of their own beliefs by momentarily contemplating their opposites. Other commandments are not oppositional at all to the originals, but are instead a redirection of the concept, such as his Sixth Commandment, "Purify the lust, abandon form-breeding sexuality", which appears to be a refashioning of the original "Thou shall not commit adultery". This commandment also reveals the Gnostic undercurrent of the entire work, which is also revealed in the title of Article VI, "Lead us not into Vanity but Deliver us from the Flesh".<br />
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A common belief among Gnostics is that the physical word is imperfect and tainted -- a shabby facade masking higher realms of being. This generally fosters a non-attachment attitude to the physical word, often exemplified in the Gnostic statement, "being in the world, but not of the world". This somewhat mirrors Buddhist beliefs regarding unnecessary attachment to material things and base impulses. Interestingly, the Gnostic Luciferian approach is 100% <i>opposite</i> of many consider "Satanism" to be, at least that of the LaVey school, which promotes hedonism and indulgence in worldly pleasures.<br />
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It is tempting for a lot of so-called "Left Hand Path" writers (a term and distinction I find rather asinine) to completely disregard or criticize all Christian practices in an attempt to expunge all traces of Christian influence, even symbolically powerful mystical elements that Christianity appropriated from earlier sources. Thankfully, Nefastos doesn't throw the baby out with the bathwater, as the saying goes. He is astute enough to recognize valuable (and somewhat universal) ritual practices, and is able to re-calibrate them to fit his ethos. Why reinvent the wheel indeed.<br />
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Some of the wording in <i>The Catechism of Lucifer</i> is a little over-the-top, such as references to the "Holy Darkness", but it is a forgivable indulgence as it sets a darkly majestic tone and is not out of place for a devotional work. The text includes 24 footnotes throughout the work. The book also includes a number of intriguing quotes from Nefastos' forthcoming work FOSFOROS. FOSFOROS has been bedeviled by production delays, but should be available soon.<br />
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The Leather edition is magnificent. Truth be told, I was speechless upon first receiving it. Its rich black goatskin feels incredible. The leather has a fine "pin morocco" grain and is blissfully redolent of the tannery. The cover design, a inverted cross set within a gothic vesica, is deeply stamped in gold. The depth of the stamp will help protect the gilding from wear over the years. The deep stamping in the leather also gives it a high-relief texture, or an intaglio effect. The spine includes 5 raised bands (one for each point of the pentagram?). There is no title on the spine (though the book description on Ixaxaar's site says otherwise). Head and tail bands are of matching black leather, lending a very uniform and classy presentation. Page edges are black and have a sheen similar to a raven's feather. Two ribbon bookmarks are provided, one gold and one black. This feature is especially handy for devotional works, as the reader may want to mark multiple passages for reflection. <br />
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Upon first opening the book one will notice the passage (John 12:25 -- "He that loveth his live shall lose it; he that hateth his life in this world shall keep it unto life eternal.") printed in gold along the edge of the inside cover -- a very Gnostic sentiment. It's a nice touch. Endpapers are solid black with a slightly pebbled texture. Interior paper is perfectly suited for the work. Paper is deep cream color, of moderate weight, and has a wonderful linen texture giving it a very antique look and feel. This is further continued by the books font, Blackletter. The choice of Blackletter was certainly a gamble for the author and publisher. I feel it is a wise choice for this work. Reading archaic fonts can be arduous and difficult for some readers, but most should be able to make it through 80 pages without too much trouble, especially since this book is intended to be read in brief contemplative readings. I feel the font's classic look lends an atmosphere of antiquity that far outweighs any difficulty it may present to readers. A number of detailed illustrations by Johannes Nefastos and M. Rautianen are included throughout the work.<br />
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Like all devotionals, <i>The Catechism of Lucifer</i> is something that can be read again and again, or read in small inspirational bites. The book's solid construction and layout reveals a lot of thought was put into its design. <i>The Catechism of Lucifer</i> is starkly elegant without excessive flamboyance. Its beauty would make even the most zealous and fanatical "black book" burner reconsider before consigning it to the flames.<br />
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com4tag:blogger.com,1999:blog-1351715704059341447.post-67783670247646166172013-04-27T12:32:00.002-07:002013-04-27T13:47:22.467-07:00R L Allan & Sons' The Holy Bible (KJV)<div class="separator" style="clear: both; text-align: center;">
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<a href="http://evangelicalbible.com/shop/index.php?main_page=product_info&cPath=12_115&products_id=310">Allan Oxford Longprimer</a> Ref Ed. (KJV) 2009. 1264 pages, plus concordance and full-color maps. Octavo. Highland Goatskin.<br />
Available in three colors: Black, Brown, and Dark Blue.<br />
Also available in Black French Morocco.<br />
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Stay calm, dear readers. Before many of you go fleeing into the shadows like exorcised demons at the sight of a Bible on this blog, I'd like to include a quick reminder about the book's <i>very</i> long history in the Western Esoteric Tradition. Its ubiquity, and questionable interpretations, should not overshadow its importance, for it is without question one of the most influential books in all of Western magic and a keystone of the Western Esoteric Tradition. It is the talismanic book <i>par excellence</i>. The Book of Psalms in particular is an ancient magical formulary, as David Rankin expertly points out his his book <i><a href="http://www.amazon.com/Book-Magic-Spells-Biblical-Psalms/dp/1905297289/ref=sr_1_1?s=books&ie=UTF8&qid=1366561888&sr=1-1&keywords=the+book+of+gold">The Book of Gold - the Magic and Spells of the Book of Psalms</a></i>. I also urge my readers to check out David Chaim Smith's book, <a href="http://www.amazon.com/The-Kabbalistic-Mirror-Genesis-Commentary/dp/0956778003/ref=sr_1_1?ie=UTF8&qid=1366558800&sr=8-1&keywords=david+chaim+smith"><i>The Kabbalistic Mirror of Genesis: Commentary on Geneis</i> <i>1-3</i></a> for a deeper exploration of Kabbalistic meaning in the Book of Genesis. <br />
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All magical traditions in Europe (and many beyond) were in some way impacted by Christianity, even the Sami shamans of the remote boreal forests of northern Scandinavia did not escape the influence (and tyranny) of Christianity. This fact cannot be avoided, regardless of ones distaste for Christianity's theology and its followers. Many of its tenets, beliefs, and symbolism are written into the very DNA of the Western Esoteric Tradition.<br />
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It should also be noted that for the last thousand years the vast majority of European magicians, sorcerers, conjurers and cunning folk where Christian. The same holds true in America. Alchemists, root-workers, pow-wows, and mystics have been overwhelmingly Christian since the days of the Puritans. In <i><a href="http://www.amazon.com/Grimoires-History-Magic-Owen-Davies/dp/0199204519/ref=sr_1_1?s=books&ie=UTF8&qid=1366563376&sr=1-1&keywords=grimores+owen">Grimoires - A History of Magic Books</a></i>, author Owen Davies writes, "American treasure seekers seem to have relied mostly on the Bible and the psalms rather than magical conjurations,...". Regarding the Bible, Davies also states:<br />
<blockquote class="tr_bq">
Some books were also used as protective talismans. The most obvious example is the Bible, which people placed under their pillow to protect them from witches and evil spirits, or touched when swearing oaths. It was also used in popular divination. By placing a key at certain passages in the Bible, binding and then suspending it, the divine power enshrined in the 'good book' would make it turn in response to the name of a thief. The Bible was obviously not a grimoire, but the power of the words, stories, psalms, and prayers it contained, as well as its holiness as an object, made it the most widely used magical resource across the social and cultural spectrum over the past thousand years. ... in the Christian world, the Bible has always been thought a necessary companion of the grimoire, and both were required to make magic.</blockquote>
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It is for these reasons that I feel the Bible is an essential book in any esoteric library. <br />
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The book also happens to feature one of my favorite protagonists in a prominent role.<br />
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Unlike most of my reviews, I will not be commenting on the written content of the Bible. That shouldn't be difficult to find elsewhere. Instead I intend to help my readers navigate through the ocean of Bibles available on the market and choose a quality edition that is right for them. I do not approach this from a belief standpoint, but rather one of functionality. <br />
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There are countless Bibles on the market, so deciding on which one is right for you can be a daunting task. The options are virtually endless. However, there were a few traits and features I was looking for which aided me in narrowing down my choices. These are as follows:<br />
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<li>Fine binding and quality construction (preferably leather).</li>
<li>English language for ease of use. (Unfamiliar languages can be useful too. More on this later)</li>
<li>A traditional translation, yet not too removed from modern English. The King James Version is the best fit for me. </li>
<li>Not too small - not too large. I didn't want to squint to read fine print. I also wanted something that didn't require a lectern. </li>
<li>A traditional look and feel</li>
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After a considerable amount of research I decided the Bible best suited to my needs was the <a href="http://evangelicalbible.com/shop/index.php?main_page=product_info&cPath=12_115&products_id=310">Allan Oxford Longprimer</a> Ref Ed. (KJV). It met all of the criteria above. But don't just take my word for it: It is also a favorite among many Bible enthusiasts. One of my favorite reviews comes from this gentleman below. Book lovers come in all varieties. I admire his obsessive enthusiasm -- it's almost infectious. One wasn't enough; he had to get <i>all</i> <i>three colors</i> and a stack of variations:<br />
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Like the gentleman in the video review above, it is not uncommon for people to own multiple copies/editions of the Bible. In some cases it can prove useful to have a copy printed in a language one is unfamiliar with, such as the Latin Vulgate Bible (if one doesn't know Latin). Finding one is easy, as the Bible is the most widely translated book in the world. Why own a copy one can't understand? The reason for this is simple: when one reads passages in an unfamiliar language it amounts to a "barbarous tongue" to one's ear and bypasses normal logic circuits of the brain. Meaning is experienced abstractly through auditory channels, much like listening to instrumental music, rather than via normal verbal cognition. Passages are <i>felt</i> rather than understood, at least on a rational level. Speaking in alien tongues is also an effective tool for putting the reader into a totally different 'head-space' outside the norm. For example, I have bi-lingual Bible printed in Pennsylvania Dutch, an obscure dialect of German, for just this purpose. I am totally unfamiliar with this dialect, yet when I read passages I feel as if I am invoking a distinct magical aesthetic that is highly appropriate for some workings.<br />
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The R L Allan Longprimer is bound in full Highland goatskin with a limp binding. This is a traditional style for Bibles, making them very flexible, easy to carry, and use. The limp binding is extremely pliant and soft. One can even roll the book up and bend it into all sorts of configurations without harming the binding. This is a practice Bible aficionados amusingly call "Bible yoga". <br />
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<tr><td class="tr-caption" style="text-align: center;">Normally a photo like this would make me cringe, but the limp binding<br />
of the R L Allan Longprimer is intended for this sort of "Bible yoga".</td></tr>
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The Highland goatskin has a luxurious, heavily gained texture, and has a full 1/2 inch overlapping yapp. The yapp is the part of the book's cover that extends beyond the text block on top, bottom, and side. With a limp binding the yapp can bend around on the sides of the text block to help protect it. The title is gilt stamped on the cover and spine. The spine also includes five bands.<br />
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<tr><td class="tr-caption" style="text-align: center;">A close-up of the book's yapp.</td></tr>
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The inside covers are accented with two gilt lines. Cover page and end page are navy blue with a linen texture and are reinforced with leather to add strength to the binding. Other indications of quality are readily apparent. The publisher states,<br />
<blockquote class="tr_bq">
This Bible has the distinctive 'overcasting' feature which used to be standard on quality binding. Basically you will find a extra line of stitching about 1/8 of an inch from the middle stitch, usually in Genesis and Revelation. This feature adds to durability and a feature of old school craftsmanship.</blockquote>
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Head and tail bands are white. Page edges are colored red and gold gilt. This creates a lavish effect, as the page edges change color depending on how they are held to the light. <u>Three</u> royal blue silk bookmarks are included to mark multiple passages. I find this extremely handy.<br />
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As with most Bibles, the pages are thinner than most books, hence the paper phrase "Bible thin". This is a necessity due to the page-length of Bibles. However, the R L Allan Longprimer has far better pages than most. They are solid without feeling like "onion skin" and have minimal ghosting. Text is clear and sharp in 10 point bold, divided into dual columns, and includes center column references. <br />
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The book includes presentation pages for family history such as births, marriages, and deaths. This is a common inclusion in Bibles, as many become family heirlooms. The book concludes with a full concordance, full color maps, and over thirty lined pages for personal notes.<br />
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Overall the R L Allan Longprimer Bible is an impressive and handsome book. Its solid construction and practical design make it a great choice for both Christians AND magicians. When open it will lay completely flat, freeing one's hands for other ritual tools. It is an essential companion to most traditional grimoires and a primary talismanic tool in many charming traditions.<br />
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com5tag:blogger.com,1999:blog-1351715704059341447.post-89343241899713393832013-03-31T14:00:00.000-07:002013-06-09T05:53:00.689-07:00Volubilis Ex Chaosium by S. Ben Qayin<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.darkharvestbooks.com/volublilis-ex-chaosium.html">Dark Harvest Publishing</a> 2012. 133 pages. Octavo. Black and white illustrations.<br />
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Available in two editions:<br />
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<u>Chaosium Edition</u>: Trade hardcover limited to 478 hand-numbered copies.<br />
<u>Deluxe Priesthood of Irem Edition</u>: Full goat skin, limited to 37 signed copies. Sold out at publisher.<br />
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<i>Volubilis Ex Chaosium</i> is the most recent edition to an ever-growing library of occult works inspired by the writings of legendary American horror writer H.P. Lovecraft. For nearly forty years occult writers have used Lovecraft's works as a foundation for esoteric exploration. One of the earlier examples is Anthony Raven's <i>The Occult Lovecraft, </i>published in 1975 (a slim booklet limited to 990 numbered copies). The author makes note of occult references throughout HPL's fiction and explores the depth of HPL's knowledge was on the subject. This was followed by the infamous 'Simon' <i>Necronomicon</i> in 1977 and another so-called <i>Necronomicon </i>edited by George Hay shortly after in 1978.<br />
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Since then there has a been a near-constant stream of occult Lovecraftiana. The works of Kenneth Grant draw heavily from the cosmic horror of HPL, often comparing HPL's trans-dimensional alien gods to grim qliphotic entities. More recent additions to the ever-growing corpus include <i>Liber Yog-Sothoth</i> by John J. Coughlin, <i>Cthulhu Cult</i> by Venger Satanis, and a number of others. These books range from delightfully creative to utter nonsense. There are even, not one, but <i>TWO</i>, different Lovecraft inspired tarot decks available. <br />
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A number of these writers (though not all) believe HPL's stories are not entirely fiction and that his works contain a hidden and very ancient magical current. This notion is particularly popular among Chaos Magic practitioners who often find HPL's colorful pantheon of gods and monsters irresistible, as it lends a gleefully eldritch veneer to their workings. In fact, in my experience, it is one of the most popular paradigms utilized by chaotes. However, the concept can be somewhat problematic considering HPL did not believe in magic or the supernatural, as can be seen clearly in this quote from one of his letters,<br />
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“All I say is that I think it is damned unlikely that anything like a central cosmic will, a spirit world, or an eternal survival of personality exist. They are the most preposterous and unjustified of all the guesses which can be made about the universe, and I am not enough of a hair-splitter to pretend that I don't regard them as arrant and negligible moonshine. In theory I am an agnostic, but pending the appearance of radical evidence I must be classed, practically and provisionally, as an atheist.” -- H.P. Lovecraft</blockquote>
Even so, there is of course the possibility that HPL was an unwitting accomplice. Many of HPL's best works were directly inspired by dreams. Thus it is theorized the contents and themes of some of his stories may have been the product of transmissions sent by alien intelligences and received unconsciously, making some of his works (particularly those considered part of the Cthulhu Mythos) to be considered <i>received texts</i>. According to the introduction of <i>Volubilis Ex Chaosium</i>, author S. Ben Qayin shares this view.<br />
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There have been a number of very good cases made to support this theory. To my knowledge, the best arguments supporting the hypothesis are given by David Geall in his essays, "A half-choked meep of cosmic fear: Is there esoteric symbolism in H.P. Lovecraft's The Dream-Quest of Unknown Kadath?" and "In a Mirror, Darkly: A comparison between the Lovecraftian Mythos and African-Atlantic mystery religions" published in <i>The Journal for the Academic Study of Magic</i> volumes 3 & 4 respectively. The former essay is especially convincing. Geall reveals a number of astounding qabalistic synchronicities found within HPL's "The Dream-Quest of Unknown Kadath". It's well worth the read. <br />
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Yet HPL maintained he knew very little about the occult. When asked about specific occult details in his stories and what he knew about black magic, HPL stated,<br />
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"As for Black Magic--I fear I'm not any such expert as you suppose! In fiction I prefer original horrors to flat transcripts from folklore, and my knowledge of actual medieval formulae and practices is really abominably fragmentary."</blockquote>
On the surface his stories support this. HPL borrowed terms (at times erroneously) from the works A.E. Waite and Eliphas Levi, what he called "rather dry and pompous treatises", with poor understanding of their meaning and usage. In perhaps his most overly occult tale, "The Horror at Red Hook", it is obvious that HPL simply chose esoteric words and phrases he felt would make good literary props. In a letter to fellow horror writer Clark Ashon Smith he mentions that he decorated the tale with incantations found in the 9th edition of <i>Encyclopedia Britannica</i> under the entry "magic". Of course believers theorize HPL's errors are simply a "blind" or that he didn't fully understand the arcane information presented to him via dream. <br />
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Now, on to the book....<br />
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<i>Volubilis Ex Chaosium</i> (meaning, whirling or spinning out of a place of chaos) begins with a brief foreword by Dr. Robert Ing followed by an introduction by S. Ben Qayin. It is here that the author makes his case for his belief that HPL was a prophet and unsuspecting mouthpiece for the Great Old Ones. The author writes, "When conceiving this text, it seemed apparent that since Lovecraft had been the unwilling victim & medium receiving these nightmare messages from The Old Ones, that they are the ones to be contacted and worked with." He continues by comparing HPL's dream contact as analogous to Golden Dawn founder Samuel MacGregor Mathers' experience with the "Secret Chiefs". Quite frankly, I felt this was the most fascinating part of the whole book. His analysis is intriguing, and he supplied a number of interesting facts to support his stance. I wish the author had expounded more on this in greater detail. <br />
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The rest of the book is devoted to the construction of magical tools and rites designed by the author (not HPL) for contacting specific entities from the Cthulhu Mythos. These sections stuck me as rather uninspired. For example, in the section regarding magical tools, S. Ben Qayin remains disappointingly conventional by falling back on default implements of ceremonial magic; ones we are all familiar with: wand, cup, mirror, crystal ball, black candles, incense, etc. When compared to the other-worldliness of HPL's creations, traditional magical tools seem tragically ill-suited and trite. The godlike entities that populate the Cthulhu Mythos are so utterly alien and unlike anything in Classical mythology (or demonology for that matter) that one would think they would require an entirely different set of tools and practices from what most Western occultist are accustomed to. In fact they do, and it's right there in the stories. <br />
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Throughout all HPL's stories he makes it abundantly clear that the means to contact The Great Old Ones is though a state of altered consciousness, whether achieved ritualistically or artificially. It is certainly <i>not</i> through repackaged goetia, unless one is going solely by the misappropriated <i>Encyclopedia Britannica</i> phrases used in "The Horror at Red Hook". For example, in the story "From Beyond" the protagonist creates a machine that affects the pineal gland of the brain, much like DMT, making other dimensions and their inhabitants visible. I'm not suggesting the author invent a fictitious device, but why not utilize something already in existence, like Brion Gysin's 'Dream Machine', to help create a trance state? This isn't complicated: you can even download a Dream Machine app for your iPhone <a href="http://boingboing.net/2010/10/05/gysin-dream-machine.html">HERE</a>.<br />
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HPL also hints at using entheogens to alter one's perception and access the trans-dimensional realms of the Old Ones. Blogger Chris Bennett makes a convincing arguement, in his article "H.P. Lovecraft and the Origins of 4:20" that HPL's "mirage-plant" is actually marijuana. Read it <a href="http://www.cannabisculture.com/blogs/2010/04/19/HP-Lovecraft-and-origins-420">HERE</a>. Other tales suggesting chemical assistance to transcend into the unknown include "Hypnos", "Ex Oblivione", and "Celephais".<br />
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In the story "The Dreams in the Witch House", contact is made through mind-altering exploration of occult geometry including non-Euclidean calculus and quantum physics. Author S. Ben Qayin does include elements of geometry, but it is limited to the ubiquitous magic circle and Triangle of Arte. One would think that when trying contact multi-dimensional beings one would be better served meditating on a geometric form like a hyper-cube, a.k.a. a tesseract. It should be mentioned the author <i>does</i> include one element that is directly from HPL, a trapezohedron from the tale "The Haunter of the Dark" and recommends that it be used as a scying device and portal; beyond this, little instruction is given.<br />
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Furthermore, in "The Call of Cthulhu", the namesake of the Cthulhu Mythos, barbarous cults achieve altered states of consciousness, or trance states, through ecstatic dance, drumming, and through "nameless rites and human sacrifices". In "The Dunwich Horror" Wizard Whateley offers up his own daughter to be impregnated by Yog-Sothoth. These are extreme acts of cultural transgression that are known to trigger altered states of consciousness. While I'm certainly not insinuating the author recommend ritualized murder or cannibalism, it must be said that lighting black candles, waving a wand around, and reading darkly poetic evocations seems incredibly pedestrian by comparison. The works of HPL suggest that a certain degree of boundary-crossing and trance is needed, a subject the author mostly avoids. Granted, a few rites require one to make a small cut on one's arm, but this is as 'edgy' <i>Volubilis Ex Chaosium</i> gets. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdHbYUNF3p-KrVHuJ3iCj8x1l0VSfjMH0N9pTZbodOnJGTc113nyspDAHUUhHTvDgIM34RKmGT5vir0jbXtidCiqc1Pl1emlkCOQrqs_gq3BqwzT_l3BDmEVvip0ZMl7spl4UW3cPwHPQQ/s1600/call+of.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdHbYUNF3p-KrVHuJ3iCj8x1l0VSfjMH0N9pTZbodOnJGTc113nyspDAHUUhHTvDgIM34RKmGT5vir0jbXtidCiqc1Pl1emlkCOQrqs_gq3BqwzT_l3BDmEVvip0ZMl7spl4UW3cPwHPQQ/s200/call+of.jpg" width="157" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image by <a href="http://www.chaosium.com/">Chaosium Inc.</a></td></tr>
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The rest of the rituals are simple evocations with directions about how to arrange the props. The book does not strike me as being very serious. More than a few sections seemed rather tongue-in-cheek, such as stating a specific size/height requirement for black candles. (???) The book would likely prove more useful for those who engage in Lovecraftian 'live-action role-playing' and perhaps should have come with its own d20. In fact, this may very well be the book's intent. The standard 'Chaosium Edition' may be a clue. <a href="http://www.chaosium.com/">Chaosium</a> is also the name of the game company that makes the role-playing game <i>Call of Cthulhu</i>. Either this book was intended for "gamers" as a prop or the author (or publisher) chose a very unfortunate name for the standard edition. As such, it is difficult to take it seriously. <br />
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None of the entities' attributes, symbolism, or background are explored in depth, leaving me wondering why I would want to call up any of them in the first place. In the 'Evocation of Shub-Niggurath' S. Ben Qayin states, "She is evoked to help one see their present circumstances and the possible 'paths' at hand. She cannot advise the Magician on which course to take, only show him the possible routes." Now, please take a moment to look at an artist's depiction of Shub-Niggurath (see pic below). Am I to believe Shub-Niggurath 'The Black Goat of the Woods with a Thousand Young' is to be used as a <i>guidance counselor</i>? Really? Lovecraft clearly portrays Shub-Niggurath as a proto-fertility goddess (using gender <i>very</i> loosely here), but <u>not</u> in a good way. It is more akin to the fertility of flies on a corpse. The author makes no mention of this -- a significant oversight. I see no reason one would want to implore the unclean blessing of Shub-Niggurath unless one is looking to birth abominations. <br />
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<tr><td class="tr-caption" style="text-align: center;">Image by <a href="http://www.etsy.com/listing/105538806/cthulhu-larp-necronomicon-fragment-spawn?ref=market">Zarano</a></td></tr>
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The author lists a number of "sacred days" that should be observed, listing Imbolc (Feb 12th), May-Eve (April 30th), Good Friday, and Samhain/Halloween (Oct 31st). However, he gives absolutely no reason why. Nor does he explain where these dates are found within HPL's work. Why not equinoxes and solstices? HPL specifically mentions Yuletide (winter solstice) as a sacred night in the tale "The Festival", yet the author completely omits this. <br />
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<blockquote class="tr_bq">
"It was the Yuletide, that men call Christmas though they know in their hearts it is older than Bethlehem and Babylon, older than Memphis and mankind. It was the Yuletide, and I had come at last to the ancient sea town where my people had dwelt and kept festival in the elder time when festival was forbidden; where also they had commanded their sons to keep festival once every century, that the memory of primal secrets might not be forgotten." -- H. P. Lovecraft "The Festival"</blockquote>
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<i>Volubilis Ex Chaosium</i> is a brief work. The author managed to stretch out the book's page number by including a number of full-page chapter titles, one-sided pages, and very large text size. Technically the book has 133 pages, but it likely has less than 100 pages of actual content. Pages containing incantations are difficult to read. The author, or perhaps publisher, made the perplexing and unfortunate decision to include an underlay of symbols beneath the text (presumably some invented form of 'Alko' script). It adds a creative flair, but is not very practical. When reciting in low-light (candle-light or moonlight, as the author suggests) it becomes a garbled mess. Or maybe it's just my old eyes.<br />
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The Priesthood of Irem edition is bound in full green goatskin. The shade of green is perfect; a hue that Lovecraft himself would probably call a <i>leprous green</i>. Acquiring specific colors of leather can be a difficult task, so congrats to the binder (Mr. Coughlin at Waning Moon, I suspect) for his deftness in securing such befitting materials. The leather feels quite nice, being smooth and supple. The cover is blind-stamped with a triangular device, the same configuration of triangles recommended for evocation within the text. The spine contains four raised bands and topped with white & green head/tail bands. This edition has solid black endpapers which are nice. However, I prefer the black moire endpapers of the standard edition which have an appropriately worm-like pattern. The Priesthood of Irem edition includes and a black silk ribbon bookmark. Here again I prefer the standard 'Chaosium Edition', as its bookmark has 'Alko' script in gold running its length -- a nice touch. The only drawback is that it is laid in and not attached to the book itself.<br />
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Pages are of above-average quality paper and pure white. The book includes four, black & white, glossy full-page illustrations by Lucas Pandolfelli that greatly enhance the text. Regrettably their titles are not given. Some of the book's graphics, particularly the chapter title pages, are of questionable quality and appear slightly pixelated. Higher resolution images should have been used. This appears to be a common problem with many small presses. <br />
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Another common problem in the small press, and even among large publishers, is over-reliance on SpellCheck. Dark Harvest Publishing is no exception. I noticed a number of glaringly obvious typos. For example, the word "altar", meaning a sacred table or pedestal, is spelled "alter" with an "e" -- a totally different meaning -- throughout the entire book. Naturally this is an error that SpellCheck will not catch, nor did the editor apparently. Another example of poor editing can be found in the section devoted to incense. Here the passage, "Nyarlathotep: Frankincense, Blood, Sage, Cinnamon, Sandalwood." is printed twice consecutively on page 123.<br />
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A note on the section devoted to incense: No explanation is given explaining why certain scents are applicable to various entities. Nor does the author explain how he arrived at his correspondences. The reader has no idea whether he found them in HPL's tales (he didn't), divined them, or just pulled them out of the air. I can only assume the author is using a vaguely elemental structure when assigning incense. I found this more than a bit odd, as the author specifically states, "Old Ones added by authors who worked within Lovecraft's structure or 'Yog-Sothery', such as August Derleth, Frank Belknap Long and others, will not be included or worked with here." <br />
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The author's theory is that these authors were not "chosen" as Lovecraft was, relegating their Cthulhu Mythos tales to apocryphal texts. Yet it was Lovecraft's protege August Derleth, <i>not</i> HPL, who first proposed the elemental theory behind HPL's creations. Noted Lovecraft scholar S.T. Joshi points out the elemental theory's logical errors in <i>Icons of Horror and the Supernatural</i> stating, "he [Derleth] maintained that Nyarlathotep was an earth elemental. This is already problematical, especially as Cthulhu is said to have come from the stars and is <i>imprisoned</i> under water making it unlikely that that is his natural element." Yet S. Ben Qayin follows the elemental model by assigning the watery scents: "Cedar, Willow, Bark, Water Lilly, Dried Seaweed" to Cthulhu. Perhaps he feels it is permissible to use other author's theories, just not their gods. <br />
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It is my opinion that Volubilis Ex Chaosium was published prematurely. It is far too brief to present any kind of workable system. It has the beginnings of a very interesting book but lacks depth and any kind of thorough analysis, either of HPL's work, or of the author's Lovecraft-based system. It amounts to nothing more than <i>qliph notes</i>. It follows the same tired template found in dozens of other recent occult titles that are equally disappointing. There seems to be a notion among some of today's occult writers that they can create their own magical system by simply swapping out a few god names, inventing a series of correspondences, and replacing traditional formulae with their own poetry, all while keeping the underlying format and mechanics the same. It is a theatrical overlay; the magical equivalent of adding food coloring, a practice I feel is creatively and intellectually lazy. <br />
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As for Lovecraftian magic, HPL set the bar very high. If contemporary occult writers are serious about using his bleak cosmic model for more than just stage lighting, or exotic window-dressing to give stale rituals spice, then they desperately need to look beyond conventional Western magical practices and traditions. The last thing the occult publishing world needs is yet another regurgitation of Agrippa, Barrett, Levi, et al. with green tentacles added for drama.<br />
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Even so, S. Ben Qayin has potential. In the book he alludes to plans for publishing future books devoted to individual gods of the Cthulhu Mythos. The first will be <i>The Book of Smokeless Fire</i> followed by <i>Nyarlathotep: Spirit of the Desert</i>. One hopes that he will not make the same mistakes and instead provide longer works with adequate analysis, well-reasoned insight, and original ideas. If not, they will amount to nothing more than further volumes of fan-fiction.<br />
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<br />Boris Balkanhttp://www.blogger.com/profile/06756447990750194787noreply@blogger.com5