Tag Archives: Aleister Crowley

Rockstars: Issue #01

rockstars_01

When I first heard about this new graphic series, I was immediately intrigued. A series about rock and roll excess, occult, and urban legend drawing inspiration from bands in the 1970’s seemed right up my alley. I added it to my pull list at my local comic store and patiently waited. This week, I finally got the first issue and it is everything I expected.

The tale is basically about two young people—a rock conspiracy theorist and a music journalist—who meet while looking into the mysterious deaths of young women, which they believe to be connected to black magic rites orchestrated by a mysterious rock guitarist.  The opening lines sucked me right in to the story.

Rock ‘n’ roll has always had its secrets. From backwards messages on classic albums, woven references to drugs and madness, or homages to fallen legends and lost friends. Hidden declarations of sympathy for the devil are as stock and trade as anthem calls to both the faithful and the damned.

Author Joe Harris credits the book Hammer of the Gods as an inspiration. I remember reading this book in my younger days and the glimpse it provided into the dark and mysterious world of rock and roll. I would never listen to a Led Zeppelin song the same way afterwards.

Already, this series makes references to some of the great rock myths: the infamous mudshark, the synching of “Dark Side of the Moon” to “The Wizard of Oz,” Jimmy Page’s obsession with all things Crowley, just to name a few. If you were a rock music fan in the late 70’s and early 80’s, you will undoubtedly catch and appreciate these references and how they are masterfully strung together with artwork that evokes the essence of that era.

I highly recommend this and eagerly await the next installment.

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Occult Symbolism in “Promethea: Book 2” by Alan Moore

Promethea_2

I’ve read a lot of books in my lifetime, so being completely blown away by a book has become a somewhat rare occurrence for me. This is a book that has completely blown me away. When I finished the last page, it was like a nuclear explosion of consciousness went off within my psyche. I have never seen such complex mystical ideas expressed so clearly and beautifully, both through the text and the illustrations. There is so much occult philosophy embedded in these pages, it’s impossible to do it justice in a short blog post, but I will try. I figure I will lightly touch on some of the themes and ideas that are incorporated into this work, and then elaborate on one chapter that demonstrates the complexity of this book.

Moore draws from a wealth of mythology and occult philosophy in the creation of Promethea, who is essentially the divine feminine manifestation of the Prometheus myth. This alone is a wonderful interpretation of the myth, about the bringing of enlightenment (symbolized by fire) to humankind. But like Yeats’ widening gyres, Moore expands on the myth by incorporating a plethora of allusions to occult philosophies and then ties them all together, showing the connection between the philosophies and myths throughout the millennia. Just to provide a sense of just how much is woven in, there are references to Aleister Crowley, Eliaphas Levi, the Goetia, Faust, the Vedic texts, kundalini, tantric yoga, kabbalah, tarot, alternate planes of existence, and the list goes on. The sheer amount of literary and visual symbolism on just a single page could spawn a lengthy analytical post.

So now I will attempt to give a very high-level summary of Chapter 6, the final chapter in the book.

In this chapter, Promethea, having studied the occult texts provided to her by Faust, realizes she has learned all she can about magick from reading and must now move into experiential learning. So she consults the two snakes that form the Caduceus, or the staff of Hermes. The twin serpents explain the occult history of humanity and all existence through the symbols of the 22 tarot cards that comprise the Major Arcana. Now, the explanation of each card and its symbolic connection to the evolution of being also includes many references to science, genetics, mysticism, numerology, kabbalah, etc. But for simplicity’s sake, I will only provide a brief summary of each card and its occult significance according to this book.

0 – The Fool: Symbolizes the nothingness or quantum void from which time and space are formed.

I – The Magician: Symbolizes the masculine creative urge, embodied in the phallic wand, which generates the initial spark or big bang.

II – The High Priestess: Symbolizes the highest female energy, the foetal darkness where all existence gestates. From her, the cosmos is born.

III – The Empress: Symbolizes fecundity and the seeds of life, along with the four elements. We now have the building blocks for life and consciousness.

IV – The Emperor: Symbolizes the moment when divine energy achieves substantiality.

V – The Hierophant: Symbolizes evolution, the visionary force that guides the first single cells to evolve into the first human hominid.

VI – The Lovers: Symbolizes sacred alchemy and the first spark of divine consciousness in humans.

VII – The Chariot: Symbolizes the advent of early shamanism and mysticism. Through the use of nectar, ambrosia, and soma, consciousness is expanded.

VIII – Justice: Symbolizes period of adjustment, where humans implement laws and build the foundations of civilization.

IX – The Hermit: Symbolizes a phase of entering a cave, from which will emerge a more developed and complex civilization.

X – The Wheel of Fortune: Symbolizes the cyclical rise and fall of civilizations: Babylon, Egypt, Greece, Rome, etc.

XI – Strength: Symbolizes lust, particularly for power, which is the impetus for conquering empires.

XII – The Hanged Man: Symbolizes man’s dark age, a necessary ordeal which marks the transition from the state of empire. The world is upside down.

XIII – Death: Symbolizes a period of transition, marking the end of dark ages before the rebirth of light.

XIV – Temperance: Symbolizes the Renaissance. Science, art, and beauty are combined alchemically.

XV – The Devil: Symbolizes the decline of the spiritual (Age of Reason). The inverted pentacle has four points (the four elements representing the earthly) while a single point (the spirit) is subjugated and trampled.

XVI – The Tower: Symbolizes Industrial Revolution, culminating in the first World War.

XVII – The Star: Symbolizes the renewed interest in mysticism and the occult following WWI. Here we have the birth of Theosophy, Golden Dawn, etc.

XVII – The Moon: Symbolizes mankind’s darkest hour before the dawn. Insanity. “Auschwitz, Hiroshima, each blight, each tyranny obscures the light.”

XIX – The Sun: Symbolizes the cultural revolution of the 1960s. Here we have new interest in Buddhism, astrology, I-Ching, and so forth.

XX – Judgment Day: Symbolizes the moment of apocalypse which will be brought about by the information age, once we reach the point where speed of technology and information causes a new form of consciousness to be born. (Note: Moore writes that this will occur in the year 2017.)

XXI – The Universe: Symbolizes the moment in which humans transcend the earthly plane of existence.

As I said earlier, there is no way I could do justice to this book in a short blog post. I strongly encourage you to read Promethea. Start with the first book and work through. There are I believe five books total. I have the third already waiting to be read. Expect to hear my thoughts on it soon.

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Chilling Adventures of Sabrina: Issue #5

Sabrina_05

It’s been nine long months since the last installment in this series. I had pretty much given up on it. But lo and behold, on my last visit to Comic Envy, there was a new Sabrina issue in my folder. It felt like Halloween came early.

It was worth the wait! Sabrina is so dark, so well written and illustrated, so steeped in the occult, there is really nothing that compares to it.

In this installment, Sabrina is placed on trial for alleged sins against the Satanic Church of Night. The trial is presided over by none other than Aleister Crowley. Sabrina is forced to undergo cruel tests to prove her innocence, reminiscent of Puritanical tests administered during the colonial witch trials.

After Sabrina’s “innocence” is established, she undertakes the dark rite of necromancy to raise her dead boyfriend, Harvey. The scenes of the rite are visually chilling and the text is as dark as the imagery.

The witches set about their grim task. First, a symbol representing the gateway between life and death is grooved into the dirt with a snapped-off branch. The branch is symbolic of the Tree of Life, as well as the pole Charon, ferryman of Death, uses to cross the River Styx. Next, a set of the dead person’s clothes is laid out on the ground, over the symbol. So that when the revenant comes back, they may cover their nakedness. Then five candles are lit and positioned around the clothes, so that there is light guiding the dead back to this plane of existence. Then, Sabrina is given the dread Demonomicon, and she recites the diabolical incantation: “…corpus levitas, diablo daminium, mondo viciim…” (The Demonomicon being a sister-book of the unholy Necronomicon.) The infernal dance comes next, and the chanting… “…for you who sleep in stone and clay, heed the call, rise up and obey, pass on through the mortal door, assemble flesh and walk once more…”

The spell works, but there is a very dark twist. Sorry, no spoilers here. You will have to purchase a copy and read it yourself.

One last thing I want to say about this issue. Superimposed over the main story is the enactment of Macbeth by the high school. It works spectacularly! I cannot emphasize enough how well the corresponding scenes connect to and add depth to the overarching storyline. It’s nothing short of brilliance in the genre of graphic horror.

“By the pricking of my thumbs, something wicked this way comes.”

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“Science, Technology, and Magic” by Umberto Eco

Image Source: Wikipedia

Image Source: Wikipedia

I have to admit that this essay, included in the book Turning Back the Clock: Hot Wars and Media Populism, was not what I expected from the title. I expected an analysis on the similarities between the three, but actually it is an exploration of science is different than technology and magic, which Eco asserts are similar in nature. Honestly, I always considered magic and science to be more alike.

Eco begins his argument by pointing out that technology is not the same as science, but is merely a product of science.

Science is different. The mass media confuse with technology and transmit this confusion to their users, who think that everything scientific is technological, effectively unaware of the dimension proper to science, I mean to say that science of which technology is an application and a consequence but not the primary substance.

Technology gives you everything instantly; science proceeds slowly.

(Turning Back the Clock: p. 105)

This is where Eco argues that technology and magic are similar—both appeal to the human desire to have fast results. Essentially, he claims that technology and magic both promise instant gratification without having to go through the work required by rigorous adherence to the scientific method.

Magic is indifferent to the long chain of causes and effects, and above all does not trouble itself to establish by experiment that there is a replicable relation between a cause and its effect. Hence its appeal, from primitive cultures to the Renaissance to the myriad occult sects to be found all over the Internet.

Faith and hope in magic did not by any means fade away with the advent of experimental science. The desire for simultaneity between cause and effect was transferred to technology, which looks like the natural daughter of science. How much effort did it take to go from the first computers in the Pentagon, or from Olivetti’s Elea, which was the size of a whole room (and they say it took the Olivetti programming team months to configure that mammoth machine to emit the notes of Colonel Bogey, a feat they were enormously proud of), to our modern PCs in which everything occurs in a split second? Technology does everything possible so that we lose sight of the chain of cause and effect.

(ibid: p. 106)

While I understand Eco’s argument, and see his logic, I am not sure I am in complete agreement. Based upon what I have read regarding ceremonial magic and alchemy, there is a definite cause and effect relationship. In fact, Aleister Crowley defines magic as “the Science and Art of causing Change to occur in conformity with Will.” I would have to argue that magic is closer to science, that it is a process of experimentation, careful taking of notes, and then replicating the process in order to see if the results are consistent.

Our culture has a tendency, it seems to me anyway, to look for the differences in things instead of searching for similarities. Everything in our universe is connected in some manner. Maybe if we focused more on the connections instead of the divergences, we might advance to the next level of humanity.

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History Repeating Itself in Europe

(photo from Washington Post website)

While scanning the news on my iPhone this morning, a story caught my attention regarding the rise of a group calling themselves the Golden Dawn (click here to read the article on the Washington Post website). I know about the unrest in Greece, but had not heard anything about this group. What I found the most disturbing is that, once again, an ultranationalist group is using the occult as part of their identity. This was done by the Nazi party in Germany and it now appears that history is repeating itself.

The Hermetic Order of the Golden Dawn was an occult group that was very influential in Europe during the late 19th and early 20th centuries (click here to read more about the Golden Dawn). Some of the more well-known members included Maud Gonne, W. B. Yeats, and Aleister Crowely. The group was influenced by a variety of mystical concepts, including kabbalah, Hermiticism, alchemy, and Freemasonry.

Throughout history, political groups have used symbols to justify their power, and mystical symbols have proven to be some of the more powerful and successful. I do not know if Greece’s Golden Dawn actually uses any of the iconography associated with the Hermetic Order of the Golden Dawn, but regardless, just using the name evokes images of power.

Our world is changing at an unbelievably rapid pace, and people who fear this change or are unable to keep up are eager to find scapegoats. In Nazi Germany, it was the Jews; in Greece, it is immigrants; in the United States, _________ (you can probably fill in the blank, depending upon which end of the political spectrum you are). The fact is, when we blame a group for our problems and start using religion or symbolism to rally the masses against that group, we are treading on dangerous grounds. History has a tendency to repeat itself. Let’s hope that we don’t repeat some of the darker chapters.

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“Witchcraft, Oracles, and Magic Among the Azande” by E. E. Evans-Pritchard

This is a book that has been sitting on my shelf for a while. I picked it up years ago while scouring a used bookstore and had never gotten around to it until now.

The book is an anthropological study of the mystical practices of the Azande in Africa and was originally published in 1937. Evans-Pritchard was a Professor of Social Anthropology at Oxford University, so this is not some new age book touting an idealized view of indigenous tribal rituals, but an objective, detailed account of his observations during the time he spent living amongst the Azande.

There is a wealth of information in this book and it is written in a style that is accessible and engaging. It is by no means dry academic writing (except for the introduction by Eva Gillies – I would skip over that unless you like that kind of stuff). There were lots of things I could expound upon, but I will limit myself to a few key items.

One thing I found fascinating is the observation that the Azande used drumming and dancing to evoke the “manifestation of esoteric powers” (p. 88). This is something that seems to be consistent with most indigenous groups. I think it also explains the current interest in drum circles. Where I live, there is a weekly drum circle in the center of town and it draws many people who participate, either as drummers or as dancers.

Regarding the use of oracles, Evans-Pritchard writes: “Azande observe the action of the poison oracle as we observe it, but their observations are always subordinated to their beliefs and are incorporated into their beliefs and made to explain them and justify them” (p. 150). This is true of every culture. Each individual’s belief system determines how that person perceives events. Consider how the beliefs of a theoretical physicist and those of a religious fundamentalist would cause each person to view the same occurrence in a different manner.

Finally, regarding magic, the Azande believe that the main purpose of magic “is to combat other mystical powers rather than to produce changes favourable to man in the objective world” (p. 199). This is the opposite of what practitioners of magic in the west believe. According to Aleister Crowley, the purpose of magic is to manifest occurrences in accordance with one’s will.

This book is probably not for everyone. I personally enjoyed it, but that is because I have an interest in mysticism and anthropology. If either of those topics interest you, then you will likely enjoy this book.

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“The Household Gods” by Aleister Crowley

I downloaded and read this play, basically because it was short and I was in the mood for reading something different. Personally, I found it a complete waste of my time. It is rare that I read something which provides me with absolutely no insight and is so poorly written. The last time I read anything this bad was when I read “Chamber Music,” a truly terrible bit of poetry by James Joyce.

First off, I am familiar enough with Crowley’s work that I got the symbolism in the play, as well as the references to the importance of the will. So in that respect, there was nothing new or enlightening in the play, and that’s fine. If it were just a new way of presenting his views on magick, I’d have been OK with that, but it was the writing that ruined it for me. Crowley may have had a deep knowledge of the occult, but he was no poet and no playwright.

As I thought about the play afterwards, I came to this conclusion. This must have been an attempt by Crowley to compete with W. B. Yeats, another member of the Golden Dawn. Now, in my opinion, Yeats was one of the greatest poets to ever command the English language. Not only could he craft superb verse, but he successfully wove in occult symbolism so that his works were not only thought-provoking, but were enjoyable to read. If I had to venture a guess, Yeats’ success probably kicked up a little envy in Crowley who thought he could do what Yeats did. Well, sorry Aleister, but you are no W. B. Yeats.

Unless you are deeply interested in the occult, don’t waste your time with this play. For those of you who are fascinated with the occult, I suggest you approach this as what it is, a novelty.

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