The Psalter of Cain by Various

Xoanon Limited.  2011.  112 pages.  Octavo.  Illustrated in three colors (red, gold, & black).

Available in three editions:

Standard edition (crimson linen): limited to 701 copies.
Deluxe edition, three-quarters burgundy goat w/ crimson linen & slipcase: limited to 171 copies.
Private edition, full crimson goat with slipcase: 16 copies privately distributed.

The Psalter of Cain, a.k.a. Psalterium Caini, is the first volume from Xoanon Limited to feature multiple contributions from members of the Cultus Sabbati and its outer order, The Companie of the Serpent-Cross.  As the title implies, the book contains a series of short devotional works written for the adoration of Cain (alternately spelled Qayin).  These come in the form of litanies, instructional rituals, paeans, benedictions, and charms.  Many of the works are highly symbolic, passionate, and poetic, enough to be appreciated by those unfamiliar with the Cultus Sabbati or Cainite mythology.

Many of the book's rites call for specific symbolic items that can be procured without too much trouble: nails, horseshoes, candles, stones, lanterns, wine, etc., making most rituals very practical, feasible, and more importantly, actually doable.  The only exception was 'The Oblation-Rite of Eokharnast' which requires three horse skulls.  A single horse skull might be difficult for most people to obtain, let alone three.  Perhaps a crafty person could construct horse skulls out of plaster or some other material as a suitable substitute.

But this is nothing new; exotic items are part of a long magical tradition.  Material components that are difficult (or near impossible) to acquire, or those that put the seeker at a high level of risk, have been a feature of Western magic for centuries, though less so in modern times.  Materials used in the construction of a The Hand of Glory would be a good example.  There are many theories behind this:  One theory is that it serves as a test to see how serious or devoted a magician is to actually doing the work.  Is the magician willing to follow every laborious step and procedure, often at great personal expense?  Or will they fudge things a bit and simply make do?   The process of actually procuring rare materials and making magical items by hand is often the very point of the whole exercise.

Another theory stems from a simple fact: spells that are impossible to replicate cannot be proven ineffective.  Authors of such books gain a certain mystique or reverence by accomplishing tremendous magical feats (or so they claim) while readers are then set up to fail, as it is highly unlikely they would have the means to complete some rituals exactly as written.  A more savvy reader may recognize a book's underlying intentions and not be distracted by literal interpretations and misdirection.  Some famous works, like "The Kabbala of the Green Butterfly' are simply fool's errands which I suspect were written with tongue firmly planted in cheek and intended to keep idle hands occupied with harmless busywork, a built-in fail-safe to weed out the suckers.  Fortunately The Psalter of Cain does not require anything unreasonable of the reader; a few household items and an open mind will do.

But I digress...   Psalter of Cain's somewhat anonymous authors occasionally shed light on their influences and seemingly diverse magical backgrounds.  'The Cup of First Murder' clearly indicates a Golden Dawn influence with its declaration, "Hekas, Hekas, Este Bebeloi!  Others have a reoccurring symbolic color theme: red/black/white, traditional colors commonly used in folk-magic from Finnish witchcraft to Pennsylvania Dutch Braucherei.  There are many hidden meanings behind these colors.  One of the most obvious and common uses is: red for blood, black for muscle/tissue, white for bone.

One of my personal favorite inclusions was 'The Rite of Five Nails'.  It is a beautiful and extremely clever ritual that is likely to resonate with practitioners of diverse traditions.  Readers are likely to discover their own personal meaning and interpretation in The Psalter of Cain's poetic rites.

Cain has become a fairly popular patron in contemporary occultism with various paths drawing upon his attributes and mysteries: Cain the first murderer; Cain the first tiller and father of lunar sowing; Cain the first tamer of horses; Cain the outsider and pariah.  Even Cain's descendant, Tubal Cain, master of the forge -- a sort of proto-Vulcan, has seen a resurgence of interest (publicly) among Traditional Witchcraft groups (see Shani Oates' Tubelo's Green Fire).  2008 saw the publication of another Cainite (Qayinite) devotional book of necromancy, Liber Falxifer by N.A-A.218, followed by its sequel last year, Liber Falxifer II - The Book of Anamlaqayin .  Liber Falxifer focuses mostly on Qayin's (the author's preferred spelling) darker aspects.   In these works the author depicts Qayin as a figure very similar to Santa Muerte as venerated throughout Central America.

Cain has played a part in witchcraft for a very long time, much like Hecate and Lilith, but I find it interesting that he is experiencing an enthusiastic revival in the public realm.  Even more interesting is why.  What is it about our age that calls out to Cain's mysteries?  Many consider our times to be very Mercurial with rapid communication and technological change.  Perhaps Cain is the flip-side to so-called 'progress', the darker underbelly that generally goes unnoticed amid all the commotion.  Modern society's conveniences all come at a price, a price (environmentally and socially) that is generally ignored or kicked down the road.  Perhaps the 'First tiller' will have the final word, as the old adage says, you reap what you sow.

Table of Contents:

Prefatory Epistle                                                    Frater A.D.K
Canticle of One                                                     Frater A.D.K
A Rite of the First Furrow                                      Frater M.D.
The Execration                                                      Frater A.H.I.
Forging the Flense of God                                     Frater A.H.
The Cup of First Murder                                       Soror S.I.
The Corpse-Knot                                                 Frater A.D.K.
Benediction of the Red Earth                                 Frater A.H.I.
Song of the Mark                                                  Frater A.D.K
The Seven Dedications of Exile                             Soror I.S.
Translation and Epiphany                                      Frater R.I.
Entreaty of the Staff                                              Frater A.H.I.
Assumption of the Witch-Hyde                             Frater A.G.
The Welkin of Cain                                               Frater A.H.
The Perfum'd Skull                                               Frater A.H.I.
A Charm for the Road of the Down-Going Sun     Frater A.D.K.
The Arrow of the Moon                                       Frater A.B.A
The Litany of Thorn-Branches                              Frater A.I.
Charm of the Forge                                              Frater A.D.K.
The Rite of Five Nails                                           Soror T.A. & Frater A.A.
The Hammer's Song                                             Frater R.I.
The Golden Ossuary                                            Frater A.H.I.
The Birth-Rite of Gnosis                                       Frater A.H.
The Nine Waymarks of the Polestar                     Soror T.A. & Frater A.A.
Oblation-Rite of Eokharnast                                 Frater A.H.
The Black Priory                                                  Frater A.Z.
Decree of Abnegation                                          Frater A.D.K.
Consummatum                                                     Frater A.H.I.
Provenance of the Texts

The copy reviewed here is one of the 171 'Deluxe editions'.  The design of the book is an absolute delight.  It is three-quarters bound in burgundy goatskin and crimson linen.  The book offers an interesting interplay of textures by contrasting supple leather with coarse-weave linen.  The leather is edged in gold adding a dramatic effect and welcome decorative break between the two shades of red.  A serpent device containing the Hebrew letters Qoph (ק), Yod (י), and Final Nun (ן) - Qyn, or Cain, is blocked in gold on the left side of the cover.  The spine has four bands and contains the title 'Psalterium Caini', also blocked in gold.  Endpapers are a rich chocolate moire.  Head and tailbands cleverly continue the red/black/white theme.  A black ribbon bookmark will hold one's page when reciting.  A metallic lead-colored slipcase protects the book.

The pages of The Psalter of Cain are a rare treat.  Xoanon spared no expense and printed the book in letterpress by Dependable Letterpress of San Francisco. Letterpress if far more difficult and expensive than standard modern printing, but the results are worth it.  One can actually see where each letter has bitten into the page and created a minute indention.  One can actually feel the letters when one gently passes their fingers over the text.  But it's not just the text, the stunning and powerfully suggestive artwork by Soror T.A and Fraters A.A. and A.H.I. is printed in the same method creating beautiful and crisp designs in black, red, and gold (see photos).  The paper is creamy, smooth, and heavy enough to accept the type without a trace of ghosting on the reverse page.

Overall, The Psalter of Cain is a serious, informative, and spirited book for those looking to work within this particular system or spiritual path.  While the book's scope may be very narrow (as intended), it succeeds in providing a wealth of information on the subject.  This is not a book intended to be read only once. Readers blessed with a bit of intuition and insight will likely return to this book again and again for creative inspiration or devotional reference.  Its handsome and sturdy presentation reflects the sacred nature of the works and ensures that it will hold up well with frequent use.  One of The Psalter of Cain's greatest strengths is the timelessness of its magical workings.  This is essential to a book's longevity and relevance.  All books are somewhat a product of their day.  This is unavoidable.  We have all read magic books published in the 60s and 70s (pick your century) that seem quaint and outmoded.  They were likely treated with all seriousness in their day, but now may seem a bit silly to contemporary eyes.  This is because books that last beyond a generation usually speak to core human needs and desires.  They also know how to ignite a sense of wonder in the reader.  The Psalter of Cain does all these.  It is likely to be carried with reverence into ritual spaces for generations to come.

The Red Church or The Art of Pennsylvania German Braucherei by C.R. Bilardi

Pendraig Publishing  548 pages.  Black & white illustrations.  Octavo.  2009

Standard Edition:  Trade Paperback

Special Edition:  Hardcover, limited to 100 copies.  Includes personalized himmelsbrief.

The Red Church or The Art of Pennsylvania German Braucherei: The Traditional Blessed Healing Art for the Good of Man and Beast is a massive collection of charms (both verbal and written), prayers, formulae, herbal lore, folk medicine nostrums, and other magical operations that fall within the Pennsylvania German charming tradition known as Braucherei (pronounced BROW-ker-eye; meaning, to try).  It is also commonly called 'Pow-Wow' from the Algonquin word 'Pau Wau' which was used to describe medicine men or spiritual leaders.  The Red Church is one of the most comprehensive collections of Braucherei practices ever assembled and is arguably the most important book the tradition has seen since Lee Gandee's 1971 autobiographical classic Strange Experience: The Secrets of a Hexenmeister.

Author Chris Bilardi, a recently ordained Pastor of the Lutheran Orthodox Church, begins the book with a thorough history of the tradition and the rural culture in which it developed.  Bilardi isn't just a historian, he's also a Braucherei practitioner, known as a Braucher or Pow-Wow Doctor (more sorcerous types are sometimes called Hexenmeisters).  His stated goal is to preserve this rather obscure folk magic tradition and dispel misconceptions that have arisen in recent years.

One such misconception is the tenancy for some to erroneously link Braucherei to Pagan traditions.  He believes the Paganizing of Pow-Wow by modern revisionists obscures the tradition's basic tenets and threatens its historical authenticity.  There is a legitimate Germanic Pagan practice found in Pennsylvania called Urglaawe (pronounced OOR-glawe-veh; meaning,  primal faith), but it is distinctly different from Braucherei, as Braucherei is essentially a Christian folk magic system.

It is true that there has always been plenty of cross-pollination within folk magic traditions, and some Braucherei charms can be traced far enough back in European history to possibly have Pagan roots, but the tradition itself and its core belief structure are solidly Christian.  Brauchers believe that their power does not originate within them; rather, they are conduits of Divine force.  This is why when asked if they can help or heal someone they simply respond, "I can try", as ultimately it is not up to them; it is up to the Divine.

It's understandable why Bilardi is protective of Braucherei's heritage considering it nearly disappeared completely during the early 20th century due to the highly sensationalized 'Hex Murder' case in 1928.  What remained went underground.  Fortunately it is still holding on here and there and even beyond Pennsylvania with known Brauchers practicing quietly in Kentucky and Wisconsin.

Like most folk magic traditions, Braucherei utilizes concepts of 'contagous magic' and 'sympathetic magic', much like its southern counterpart: Hoodoo.  It is also the Yankee cousin of English Cunning-craft, though Braucherei is exclusively a protective and healing tradition.  You will never find a Braucher willing to hex or harm, as they feel they will lose their ability if abused or used for ill.  They are the antithesis of the malevolent witch.  Brauchers are summoned to heal injuries and alleviate sickness (including animals), break hexes, protect homes and property, and charm items to increase their potency -- all done at no charge.  An example of the latter is a charm to make firearms shoot straight and always find their mark.

 Another well-known Braucherei charm is the himmelsbrief, or 'heaven's letter'.  It is a long written charm which is said to have been originally composed by God.  Different versions exist.  The most famous is the 'Magdeburg Letter' which reportedly fell from the sky in 1783.  It is believed that a himmelsbrief hung in one's home will protect the household from danger and sinister forces.  If carried in a pocket it will protect the owner from harm.  Bilardi  provides examples of himmelsbriefs and also includes diagrams of talismans, reduction spells like the ABAXACATABAX charm, and magic squares like the ubiquitous SATOR.

Himmelsbrief circa 1850s.
 Part of the Balkan collection.

Notably absent in The Red Church are the iconic barn stars or 'hex signs' of the Pennsylvania Germans.  This is a somewhat controversial topic among Brauchers and historians.  Some feel hex signs were used to focus and localize the powers of sacred geometry.  They may have been used as protective wards or 'painted prayers' to encourage fair weather for crops.  Chris Bilardi does not believe they had a specific magical intent, but were instead  just simple barn decorations.

'Triple Protection' Hex Sign 
created by legendary Braucher, Lee Gandee 

I respectfully disagree (in part) with Mr. Bilardi on this one point.  While I'm certainly not a Pennsylvania historian, considering the known Hermetic influences in the state's early history, I think it is fair to assume that some early hex signs were used for magical purposes.  It's also likely they were copied by the uninitiated and reduced to a type of folk art by those who were ignorant of their original purpose and symbolic meaning.  Regardless, even if hex signs did not originally have magical intent, the point may be a moot one, as hex signs certainly are used magically now.  Braucher Lee Gandee used them for magical purposes over 50 years ago.  Nor are they  going unnoticed by today's practitioners, including those who follow the Urglaawe path, as can be seen at the hex sign site Zaubereigarten.

Also included are lunar, planetary, zodiacal, and qabalistic charts to assist in magical timing.  A complete Braucherei herbal is provided to instruct the reader on the proper use of magical and medicinal plants.  New World practitioners will welcome this, as all the plants are native to North America (or long since naturalized).  It is a pharmacopeia of indigenous alternative medicine.

Chris Bilardi is nothing if not thorough.  The Red Church includes four Appendices: Glossary of Terms, Use of the Psalms and Names of God from Scripture, Pennsylvania German & Standard German Pronunciation Guide (PA German is its own dialect), and Table of Planetary Hours.  He also includes a lengthy Bibliography and extensive Index.

Physically the book is rather ordinary and what one would normally expect from a standard hardcover.  It has slate blue cloth boards.  Title and author are gilt-stamped on spine.  A cream-colored dust-jacket sports the title in blackletter script and includes a heart with tulip design in the fraktur style of the Pennsylvania Germans.  The back includes an image of a distelfink perched on a branch representing 'good luck'.  While the jacket may seem somewhat lackluster and monotone, it perfectly reflects the humble yet artful spirit of the Pennsylvania Germans.  It should be noted that the cover of the hardback differs from the trade paperback.

I'm puzzled why the title is printed uncomfortably close to the top edge of the dust-jacket on both the spine and cover, leaving almost no margin.  It's a rather unfortunate placement and aesthetically unappealing.  I can only assume it was an overlooked mistake.  Other unfortunate oversights include several typos and the chart for the Zodiac Influences is rather blurry (at least in my copy).  These are easily avoidable (if not obvious) mistakes that should have been caught by Pendraig Press' editors.  Even so, at a cover price of $46 The Red Church is a steal, minor flaws or no.

The book includes a tipped in bookplate with a Bible verse handwritten by Chris Bilardi, "And the light shineth in darkness; and the darkness comprehended it not." (John 1:5 KJV)  Others may vary.  What makes this book special and truly talismanic is that it also includes a himmelsbrief designed by the author.  It comes enclosed in a red envelope bearing the owner's name.

Braucherei books themselves are often considered physical talismans.  The tradition's most famous charm book (other than the Bible) is The Long Lost Friend by John George Hohman that famously includes the magical statement:

 "Whoever carries this book with him, is safe from all his enemies, visible or invisible; and whoever has this book with him cannot die without the holy corpse of Jesus Christ, nor drowned in any water, nor burn up in any fire, nor can any unjust sentence be passed upon him. So help me."

The Red Church continues this time-honored tradition by including 'The Binding and Blessing':

"Whoever takes possession of this book is bound to do good alone, to the glory of God and for all the well-being of Man and Beast.  No part of this work of mercy shall be abused.  All who make proper use of the contents of this book shall be blessed and held in Adonai's protective hands, safe from enemies seen and unseen, and from all malign witchcraft.

Anyone who abuses this work shall be bound: this book and its contents shall be forever closed and sealed to him."

Thus the book itself acts as a protective ward for those worthy of its blessing.  Brauchers take these magical declarations very seriously.

Readers will notice the frequent mention and use of the color 'red', the book's title being the most obvious.  Bilardi writes:

"Red is the most common color used in Braucherei; it is also the most mentioned color in Braucherei charms and prayers.  The symbolism is very plain and obvious, if dual: red is heat; therefore, it is also 'fire' and 'life' and 'blood' ... In Christian symbolism it is the color of redemption ... it can either impart an action and energy, or it can be used as a sympathetic 'sponge' to remove a condition..."  

It is not too difficult to notice the alchemical symbolism at work here, most notably the intense focus on the perfected rubedo phase.  Undercurrents of Western Esotericism should not be surprising, as some theorize that Braucherei is a folk magic manifestation of Rosicrucianism -- magic come full circle, as it were.  Indeed Pennsylvania has a long and colorful early history of resident alchemists, qabbalists, and astrologers, such as George de Benneville, Johann Gotfried Seelig, and Johannes Kelpius, the latter two were part of the Mystics of the Wissahickson who, if not formally, certainly had Rosicrucian leanings.

This uniquely American grimoire is a folk magic tour de force.  My hope is that it will ensure that Braucherei remains a living tradition for at least a few more generations.  Perhaps The Red Church will be as important to the tradition as the Pow-Wow classic Long Lost Friend was over 150 years ago.

It should also be noted that Dan Harms, author and mastermind behind the wonderful blog Papers Falling from an Attic Window, has a highly anticipated 'Definitive Edition' of Long Lost Friend in the works.  I met Mr. Harms briefly in Providence, RI back in '99.  He was friendly and extremely knowledgeable in his area.  I am very much looking forward to reading his research on Long Lost Friend.

Beautifully restored Long Lost Friend by JRR Bookworks

Note*  For those interested in learning more about the history of Braucherei (Pow-Wow) beyond this book (particularly from an academic perspective), I would highly recommend Powwowing Among the Pennsylvania Dutch: A Traditional Medical Practice in the Modern World by David W. Kriebel (2007) and Pennsylvania Dutch: Folk Spirituality by the late Richard E. Wentz (1993) who, sadly, just passed on September 25h.

As my readers have probably noticed by now, this blog doesn't play favorites; esoteric Christian theurgical texts are reviewed right along side diabolical tracts of infernal pacts.  Whether rustic charm books about toad-bone rites or Freemasonic treatises on sacred geometry, I hope everyone finds something of interest or perhaps a new path worthy of further exploration.  Thanks again.

B. Balkan

The Occult Reliquary: Images & Artefacts of the Richel-Eldermans Collection edited by Daniel A. Schulke

Three Hands Press  2010  224 pages.  Illustrated: many full-color. Quarto.

Standard Edition: Scarlet cloth with dust jacket, limited to 700 copies.

Deluxe Edition: Quarter burgundy morocco over cloth boards with slipcase, limited to 250 copies.

Special Edition: Full scarlet morocco with slipcase, limited to 100 copies.

The Occult Reliquary was created in association with The Museum of Witchcraft in Boscastle, Cornwall.  It collects for the first time previously unpublished works of occult artwork relevant to the traditions of witchcraft, ceremonial magic, and Freemasonry.  Included works are part of the Richel-Edlermans collection, a significant collection donated to the Museum of Witchcraft by the late Bob Richel of Amsterdam.  Much of this collection (over 2000 pieces) could have been lost or divided up and scattered around the world if not for Richel's decision to contact The Museum of Witchcraft for preservation.

Within this large folio one will find diagrams and illustrations of charms, magic circles, fetishes, magical implements, talismans, herbs, and full-color photos of actual handcrafted pieces.  The age of the pieces ranges from antiquity to the mid 20th century.  They were originally collected by Richel's father-in-law, J.H.W Elderman (b. 1904), who Richel described as a "heks" (witch).  He was also a Magister in a lodge of the A:.A:. in The Hague.  It is not know if this refers to the 'Argentum Astrum' or the 'Ars Amatoria', as both magical orders are represented within the collection.

The editor made the wise decision to make The Occult Reliquary a mutus liber (silent book), or a book without commentary.  Limited footnotes, titles, and index numbers are given, but by and large viewers are forced to contemplate the images and arrive at their own meaning or surmise an object's intent.  As they say, a picture is worth a thousand words -- even more so when dealing with the esoteric.  The images are revelatory for those with eyes to see.

Many images have been executed using the detail of a draftsman, with some talismans shown from multiple perspectives to clarify their meaning, design, and method of use -- in some cases almost instructing the viewer.  The book is filled with illustrations of hag stones, witches knots, protective seals, divination tools, poppets, stangs,  mandrakes, alchemical apparatuses, and fertility charms.  It is a veritable cornucopia of occult symbolism and witch-lore.

Foreword is provided by Daniel A. Schulke.   Introduction is written by Graham King, curator of The Museum of Witchcraft.  The book concludes with an index providing description and medium of each image, of which there are over 275, and 130 in full color on glossy paper.  Back and white images (scanned from the originals) are sharp and printed on smooth & high-quality paper.

The Special Edition is bound in full morocco.  The leather has a gorgeous raspberry hue and is highly textured.  It is an absolute delight to hold and exudes the usual aroma of fine leather but with additional spicy notes of tonka bean.  The cover contains a gilt-stamped lunar enneagram device, and opens to black, leather-textured, end-papers.  The spine has four raised bands and is gilt-stamped with title and magic seals.  The book is finished with red & gold head/tail bands and a black, satin, ribbon bookmark, and comes housed in a sturdy slipcase covered in black linen.

Whether you're an Alchemist, Goetic magician, Freemason, Thelemite, Cunning Man, Rootworker, or Pennsylvania German Hexenmeister, you're likely to find something of great interest among these images.  Three Hands Press has done an amazing job and has treated the subject matter with the respect it deserves.    Please also remember that these precious and important images would have been lost if not for the efforts of The Museum of Witchcraft.  So, if you're looking for an important cause in which to donate to in this new year, please consider donating to The Museum of Witchcraft here, so that more irreplaceable works may be saved to further enrich our magical heritage.

Magic Secrets attributed to Guidon (Translated from Norman French by Philippe Pissier)

The Society of Esoteric Endeavour  2011 (Orig. circa 1670).   88 pages.  Illustrated (some colored).  Decimo-octavo (Eighteenmo).

Paperback, limited to 180 copies.

Magic Secrets is a collection of Norman folk-magic charms and remedies alleged recorded by a 17th century Cunning Man.  The book states that it was originally published in 1670, though dates and authors were often exaggerated or fabricated in the grimoire tradition to imbue them with an air of authority or legitimacy.  Its first known appearance was in the appendix of The Grimoire of Pope Honorious.   In many ways it is perhaps a precursor to other small charm books, such as the Romanus Buchlein (1788) and Johann Georg Hohman's Long Lost Friend (1820).  Like RB and LLF, Magic Secrets includes practical charms for the protection of livestock, charming of firearms, blood-stopping, reducing fevers, and instructions for creating protective wards and talismans.  The vast majority of the book's charms are related to animal husbandry, such as charms for protecting sheep, or healing horses.  This follows an earlier publication from The Society of Esoteric Endeavour, Society of the Horseman's Word, a book of equine charms detailing the practices of the legendary Scottish 'Horse Whisperers'.  Magic Secrets also includes anonymous commentary discussing the history of the book and background of some of the charms.

The charms in Magic Secrets are largely written from a Christian perspective and often call upon the favor of Christ and angels.  Considering the time and place of origin, this is hardly surprising.  However, like many European grimoires, the book occasionally walks a fine line between piety and blasphemy.  Blasphemous passages are written in Latin, presumably to hide their true meaning from others when spoken, as it would have certainly raised a few eyebrows, if not a few pyres.  Sudden heretical statements, intended to deliver a shock, were occasionally used as a magical healing technique to perhaps scare or chase away unwanted malign spirits.  One might compare it to wearing frightful masks to scare away evil spirits, especially on Halloween.

'The Peddler'  17th century France

As much as I love the recent wave of beautiful and fine-bound talismanic books, it is also refreshing to see a publisher willing to pay homage to the inexpensive, paperback, occult books that were circulated around Europe for hundreds of years, such as the Bibliotheque Bleu books.  These were the spell books of the common folk.  Even the illiterate valued these works, as they would often infer their own meaning from the book's printed symbols and diagrams or feign understanding when in front of clients.  These books are as much a part of occult history as the expensive, leather, tomes treasured by the educated and wealthy.  It should also be mentioned that Scarlet Imprint and Hadean Press have also continued this tradition by publishing inexpensive, paperback, occult works in their Bibliotheque Rouge and Guides to the Underworld series, respectively.  This flies in the face of those who claim specialty occult publishers only market to high-end collectors.  In the end, it's the content that matters.  It is my opinion is that a combination of both approaches best ensures the survival of the material.  Paperbacks (and even e-books) reach a far wider audience, keeping traditions alive, while sturdy bindings can almost guarantee a book's survival for generations, that is, barring any future book-burning crazes.  Unfortunately history is filled with many, and magical grimoires in particular have proven to be especially susceptible to the torches of zealots. 

In order to be historically accurate, the book is issued in paper wraps and has a somewhat rough-hewn binding.  The cover is printed with a talismanic design and is waterproofed using an age-old method that involves rubbing the cover with beeswax and then burnishing it with a smooth stone, all done by hand of course.  The paper is intentionally designed to have a rustic look and feel, much like the charms contained within.  It is given a yap binding (an overlapping cover, often seen in older Bibles) and has clipped corners.  According to the publisher, "Hahnemahle Medieval Laid 130 gsm paper" was chosen, as it closely resembles 17th century paper created with the mould-made production method.  The linen texture of the paper is amazing.  It feels very organic, and is flecked with natural fibers.  Pages have a natural deckle edge at the top.  The majority of copies (copies 1-154) have uncut pages, leaving it up to the reader to slice open each page with a pen-knife.  Further adhering to tradition, the publisher chose to print Magic Secrets using lead type, an admirable but expensive decision.  Though the publisher uses impressive printing methods and materials, the overall presentation of the book is very practical, including its size; it can easily be carried in a jacket pocket.  This book isn't intended to be a show piece -- it's designed for use.

I have a tremendous respect for Ben Furnee, the mastermind behind The Society of Esoteric Endeavour's publications.  His love for books and remarkable attention to historical detail, no matter how humble, comes through in each binding.  When one holds one of his hand-bound books one also experiences his passion, conveyed powerfully through the the magic of the bookbinder's art.  But be warned: his enthusiasm is contagious.

Egyptian Secrets or White and Black Art For Man and Beast, attributed to Albertus Magnus

Egyptian Publishing Company.  208 pages.  Octavo.  1930  (Press and year not stated)

(Revisiting an old classic)

Hardcover with dust jacket.  Translated from the original German.

Egyptian Secrets is a classic among folk magick practitioners, especially among those who practice Hoodoo and Pennsylvania German Pow-wow, a.k.a. Braucherei.  Its charms and herbal remedies have been used for generations to stop blood, charm firearms, heal animals, break hexes and many other practical uses.  The majority of spells and charms included tend to focus on treating domesticated animals and curing minor personal ailments such as wart removal, ointments for burns, and treatments for gaut and jaundice.  Thus, the charms and remedies therein are interesting indicators, as they represent the needs and concerns of a mostly rural society at a time when doctors were very scarce, leaving many to fend for themselves.  In many ways it is comparable to the American folk magick grimiore, The Long Lost Friend, by John George Hohman.

The book itself consists of three parts.  No reason is given why the book is divided thus.  Each part contains seemingly random charms and remedies without following a pattern or theme.  Additionally, each section contains its own separate index.  Thus, if one needs to look up a particular charm one would need to check all three indexes.  This makes the book somewhat difficult to use efficiently, especially considering that, as in the case of blood-stopping, speedy retrieval of a charm would be essential.  One wonders at the logic of this.  At least the indexes list the charms alphabetically.  I suspect copies of Egyptian Secrets often contained many inserted bookmarks or dogeared pages to assist in locating particular charms.  Seventeen blank pages are included at the rear, presumably for notations.

Occult scholar, Joseph H. Peterson, has traced the history of Egyptian Secrets back to the early 18th century.  The book has no connection to the famous Dominican bishop Albertus Magnus (1193 - 1280).  His name was likely added for name recognition to boost sales, an early form of spurious celebrity endorsement or 'star power'.  The title is somewhat of a misnomer.  In this case 'Egyptian' refers to Gypsies (or the Roma).  This is due to the erroneous belief that Gypsies had an Egyptian origin.  Further, there is also little evidence that these charms are of Roma origin.

Physically the book is not terribly impressive and is printed rather cheaply, as is common of the era. The dust jacket sports a Faustian figure summoning or commanding imps (black & white).  The same image is printed on tan canvas boards.  Pages are medium weight pulp paper and have darkened significantly over time due to acid content, though they remain in fairly good condition.  I have treated each page with a de-acidification spray called Archival Mist from Preservation Technologies.  With a bit of luck, this will stop (or at least slow down) the book's deterioration.