Tag Archives: books

“Liber Null” by Peter J. Carroll

Many years back, I picked up a copy of Peter Carroll’s introduction to Chaos Magic which includes two texts: Liber Null and Psychonaut. Since it is my goal to start reading the books that have been accumulating on my shelves, I figured I would read the first text in this book and then the subsequent one later on.

Carroll begins by offering a definition of magic (similar to Crowley’s) and states the importance of mental focus when performing magical work.

Magic is the science and art of causing change to occur in conformity with will. The will can only be magically effective when the mind is focused and not interfering with the will. The mind must first discipline itself to focus its entire attention on some meaningless phenomenon. If an attempt is made to focus on some form of desire, the effect is short circuited by lust for result. Egotistical identification, fear of failure, and the reciprocal desire not to achieve desire, arising from our dual nature, destroy the result.

(p. 15)

By silencing the mind, one enters into an altered state of consciousness, which is requisite to successfully performing works of magic.

Altered states of consciousness are the key to magical powers. The particular state of mind required has a name in every tradition: No-mind. Stopping the internal dialogue, passing through the eye of the needle, ain or nothing, samadhi, or one-pointedness. In this book it will be known as Gnosis. It is an extension of the magical trance by other means.

(p. 31)

Having read James Gleick’s excellent book on the science of Chaos Theory many years ago, I found Carroll’s application of the scientific model to magical practice interesting.

Space, time, mass, and energy originate from Chaos, have their being in Chaos, and through the agency of the aether are moved by Chaos into the multiple forms of existence.

Some of the various densities of the aether have only a partial or probabilistic differentiation into existence, and are somewhat indeterminate in space and time. In the same way that mass exists as a curvature in space-time, extending with a gradually diminishing force to infinity that we recognize as gravity, so do all events, particularly events involving the human mind, send ripples through all creation.

(p. 52)

In conclusion, this is not a book for most readers. It’s very heady, demands a lot from the reader, and also includes some darker aspects of the mystical arts. But as with most books of this nature, there are some valuable insights to be gleaned.

Thanks for stopping by.

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Thoughts on “The Angels” by Rainer Maria Rilke

Gustave Dore – artist

They all have weary mouths,
bright souls without a seam.
And a yearning (as for sin)
often haunts their dream.

They wander, each and each alike,
in God’s garden silently,
as many, many intervals
in his might and melody.

Only when they spread their wings
they awaken a great wind through the land:
as though with his broad sculptor-hands
God was turning
the leaves of the dark book of the Beginning.

(translation by C. F. MacIntyre)

I read this poem a couple times and struggled with it. There is a tension here that is tangible but not easy to identify. I did a little research online about Rilke’s ideas concerning angels, and he would go into deeper exploration of the topic in his Duino Elegies.

Throughout the Duino Elegies, Rilke explores themes of “the limitations and insufficiency of the human condition and fractured human consciousness … mankind’s loneliness, the perfection of the angels, life and death, love and lovers, and the task of the poet”. Philosopher Martin Heidegger remarked that “the long way leading to the poetry is itself one that inquires poetically”, and that Rilke “comes to realize the destitution of the time more clearly. The time remains destitute not only because God is dead, but because mortals are hardly aware and capable even of their own mortality.” Rilke explores the nature of mankind’s contact with beauty, and its transience, noting that humanity is forever only getting a brief, momentary glimpse of an inconceivable beauty and that it is terrifying.

(Source: Wikipedia)

So Rilke appears to be grappling with the contrast between the fragmented human condition and our divine nature as manifested in angelic beings. What is particularly interesting in “The Angels” is that the angels appear sad and lost, just as humans are. Additionally, within each angel is the possibility of sin. It is like every angel recognizes that it has the potential to follow the same path as Lucifer.

Like humans, the angels in Rilke’s poem wander aimlessly, lost and searching for meaning in a reality void of meaning.

Finally, we have the image of an angel taking flight, which causes a “great wind through the land.” This image conjures the myth of Icarus, who tried to escape the world but flew too close to the sun. Do the angels also long to escape from their limited existence, to ascend to new heights? In doing so, are they destined to fall, like Lucifer? Are we as humans, trapped in our reality, fettered to this broken world, and if we attempt to transcend, do we have that brief moment of exaltation before we crash into oblivion?

This poem leaves me with more questions than answers, but that is good. It is important to ponder questions about our existence and our place in the universe, and this poem succeeds in eliciting the deep questions which all of us should be asking.

I hope you enjoyed the poem and my thoughts about it. Feel free to share your thoughts in the comments section below.

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“The Crucifix, Its Uses and Customs” by Umberto Eco

In this short essay, included in the book Turning Back the Clock, Eco discusses whether it is appropriate to display religious iconography, specifically the crucifix, in institutions of public education. I found this to be particularly interesting, given that there seems to be a growing tension between religion and state institutions in the US. Heated debates have erupted over the inclusion of texts in schools, or the display of the Ten Commandments at government buildings, and there does not seem to be any abatement in this tension.

Eco uses examples from his home country of Italy to make his point.

In Italian universities there are no crucifixes in the lecture halls, but many students are members of Catholic groups like Communione e Liberazione. However, at least two generations of Italians spent their youth in classrooms where the crucifix was hung between portraits of the king and Mussolini, and out of every thirty students in every class some became atheists, others fought with the resistance, and others again—the majority, I believe—voted for the Republic. All anecdotal evidence, if you will, but of historical importance, and this tells us that the presence of religious symbols in schools does not affect the spiritual development of the students.

(Turning Back the Clock: pp. 274 – 275)

Eco makes a great point here. The exposure of young people to religious iconography and doctrine in no way ensures that those individuals will internalize the ideas, and conversely, the lack of these symbols does not mean that individuals will not develop along spiritual pathways. But what Eco adds later in the essay, which to me is the key point, is that tolerance of others is what must be taken into consideration in this issue, and that in a diverse society, if religious topics are to be taught in school, they should be inclusive of all religions.

School curricula of the future must be based not on the concealment of diversity but on teaching the techniques that lead youngsters to understand and accept it. For some time now people have been saying it would be nice, along with religious instruction (and not as an alternative for those who aren’t Catholics), if schools devoted at least one hour a week to the history of all religions, so that Catholic kids might understand what the Koran says or what Buddhists think, and so that Jews, Muslims, and Buddhists (and even Catholics) might understand how the Bible came into being and what it says.

(ibid: p. 276)

I agree with Eco. Personally, I enjoy reading religious texts from diverse traditions and faiths. The idea that one tradition has a monopoly on the truth has led to centuries of warfare and hatred. I feel that every spiritual or religious text has valid insights to share.

Anyway, I think I’ve said enough on this topic. Thanks for stopping by and reading my rambles. Have a great day and keep on reading interesting stuff.

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Thoughts on “The Dunwich Horror” by H.P. Lovecraft

This is a great short story to read for Halloween. In fact, some of the events in the story take place on Halloween.

That Hallowe’en the hill noises sounded louder than ever, and fire burned on Sentinel Hill as usual; but people paid more attention to the rhythmical screaming of vast flocks of unnaturally belated whippoorwills which seemed to be assembled near the unlighted Whateley farmhouse. After midnight their shrill notes burst into a kind of pandaemoniac cachinnation which filled the countryside, and not until dawn did they finally quiet down.

Essentially, this is a tale about the crossbreeding of a human with a creature from another dimension of existence, the result of which was the birth of something that could no longer be classified as human.

“Inbreeding?” Armitage muttered half-aloud to himself. “Great God, what simpletons! Shew them Arthur Machen’s Great God Pan and they’ll think it a common Dunwich scandal! But what thing—what cursed shapeless influence on or off this three-dimensional earth—was Wilbur Whateley’s father? Born on Candlemas—nine months after May-Eve of 1912, when the talk of queer earth noises reached clear to Arkham—What walked on the mountains that May-Night? What Roodmas fastened itself on the world in half-human flesh and blood?”

When attempting to describe beings or forms of consciousness that exist beyond our realm of reality, one must rely on symbols because the ineffable nature of these manifestations cannot be captured using the limited means of communication with which humans rely. Communication with divine beings are therefore non-verbal by nature. What Lovecraft does in this tale is express the ineffable sounds produced by a being from another dimension, which cannot be comprehended or duplicated by beings in our plane of existence.

Without warning came those deep, cracked, raucous vocal sounds which will never leave the memory of the stricken group who heard them. Not from any human throat were they born, for the organs of man can yield no such acoustic perversions. Rather would one have said they came from the pit itself, had not their source been so unmistakably the altar-stone on the peak. It is almost erroneous to call them sounds at all, since so much of their ghastly, infra-bass timbre spoke to dim seats of consciousness and terror far subtler than the ear; yet one must do so, since their form was indisputably though vaguely that of half-articulated words. They were loud—loud as the rumblings of the thunder above which they echoed—yet did they come from no visible being. And because imagination might suggest a conjectural source in the world of non-visible beings, the huddled crowd at the mountain’s base huddled still closer, and winced as if in expectation of a blow.

I don’t want to spoil the ending for anyone, so I will end the post here. I’ll conclude by saying this is a very creepy story which also has some interesting social criticism woven in, as well as occult references to texts and mythologies. But most importantly, it is extremely well-written and can be enjoyed by anyone who likes to curl up with an eerie tale at this time of the year.

Thanks for stopping by, and enjoy your reading.

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“Dracula” by Bram Stoker: Exploring the Vampire Archetype

The vampire is a powerful archetype and one that is manifest in our modern society—that being that lives in darkness, feeds of the life-force of others, and is motivated by selfishness and the baser animalistic instincts. This archetype is fully explored in Bram Stoker’s classic horror story, Dracula.

There are such beings as vampires; some of us have evidence that they exist. Even had we not the proof of our own unhappy experience, the teachings and records of the past give proof enough for sane peoples.

(p. 227)

I suspect we have all had experiences with individuals who embody the vampire archetype. They are the ones who drain us when we are around them, with whom we must always keep up our guards, and who seem to thrive on the fear and pain of others.

The nosferatu do not die like the bee when he sting once. He is only stronger; and being stronger, have yet more power to work evil.

(p. 228)

Vampiric individuals do not feel remorse when they inflict pain or suffering on another. On the contrary, they feel empowered. It is a lack of empathy that allows these people to sting again and again, each time feeling more emboldened by feeding on the sense of power experienced over the domination of another person.

One of the best ways to understand the vampire archetype is to contrast it with its opposite.

Well, you know what we have to contend against; but we, too, are not without strength. We have on our side power of combination—a power denied to the vampire kind; we have our sources of science; we are free to act and think; and the hours of the day and the night are ours equally. In fact, so far as our powers extend, they are unfettered, and we are free to use them. We have self-devotion in a cause, and an end to achieve which is not a selfish one. These things are much.

(p. 229)

This paragraph describes the characteristics of individuals who are not vampiric in nature. They are thoughtful and motivated by science and logic. They are free from their baser desires and can therefore act in the best interest of themselves and of those around them. They are balanced (symbolized by the equal parts of night and day), and they are selfless and devoted to causes which further humanity, as opposed to striving solely after personal gain.

While the drinking of blood and transformation into an animal are well-understood symbols of the vampire archetype, another aspect worth noting is the ability to turn into mist.

He can come in mist which he create—the noble ship’s captain proved him of this; but, from what we know, the distance he can make this mist is limited, and it can only be round himself. He come on moonlight rays as elemental dust—

(p. 230)

Here, mist becomes a symbol of obfuscation. When we find ourselves in close proximity to the vampire archetype, our humanity begins to become obscured, our thoughts unclear. Our minds are in essence affected by the presence of a toxic individual. Thankfully, our minds are also affected when we are close to a positive and nurturing person. But we should always be aware of the subtle changes in our personalities that result from our associations with others.

There are many expressions of the vampire archetype in our modern culture: the news, social media, advertising, politics, all sucking our life-blood and draining us of our humanity, driving us to embrace our lower instincts and discard our empathy for others. The good news is, once you learn to recognize the vampire, you don’t need garlic to protect yourself; logic, compassion, and when necessary, distance, are all sufficient to ward off the vampire’s effects.

Thanks for stopping by, and stay safe.

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Thoughts on “In a Disused Graveyard” by Robert Frost

Source:Wikipedia

The living come with grassy tread
To read the gravestones on the hill;
The graveyard draws the living still,
But never any more the dead.

The verses in it say and say:
‘The ones who living come today
To read the stones and go away
Tomorrow dead will come to stay.’

So sure of death the marbles rhyme,
Yet can’t help marking all the time
How no one dead will seem to come.
What is it men are shrinking from?

It would be easy to be clever
And tell the stones: Men hate to die
And have stopped dying now forever.
I think they would believe the lie.

I find this poem fascinating on several levels. First, the imagery speaks to me. I have always found graveyards strangely provocative yet comforting. There is a sense of quiet and stillness that somehow soothes my spirit. It also reminds me that Death is the great equalizer, that we all must succumb to the Reaper regardless of status, wealth, power, etc. And it also reminds me that it is important to live each moment of life to the fullest.

The rest of what I find fascinating about this poem are the levels of meaning and the social criticism which Frost weaves in.

We see from the first stanza that the graveyard Frost is describing is no longer used. It is by itself in a rural area and does not appear to be associated with any church or town, and has become but a curiosity for tourists, day hikers looking for a destination. One gets the impression that no one has been buried there for many years.

To me, this speaks of how modern society approaches death as compared with our ancestors. We now inter the dead in manicured memorial gardens, or in hallowed grounds, as opposed to a location close to a homestead. Or even worse, we send or deceased relatives off to some facility where they are industrially incinerated, and the remains are returned in an aesthetically pleasing urn for display on the mantle.

We have denied that death is part of the natural process. In the past, when we accepted death as the natural culmination to life, we would return the dead to the earth close to the home to which there was connection. And this loss, this shift away from our acceptance of death is what Frost sees reflected in the weathered stones of an abandoned graveyard that no longer sees the return of the dead to the earth.

Thanks for stopping by and sharing in my musings. May you have a blessed day.

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“Alone” by Edgar Allan Poe

From childhood’s hour I have not been
As others were—I have not seen
As others saw—I could not bring
My passions from a common spring,
From the same source I have not taken
My sorrow—I could not awaken
My heart to joy at the same tone;
And all I lov’d. I lov’d alone.
Then—in my childhood—in the dawn
Of a most stormy life—was drawn
From ev’ry depth of good and ill
The mystery which binds me still;
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that ’round me roll’d
In its autumn tint of gold—
From the lightning in the sky
As it pass’d me flying by—
From the thunder, and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.

This poem was written by Poe in his youth and expresses feelings of isolation and of not belonging, which are common among young people. I can speak from my own experience that growing up I never really felt like I fit in anywhere, even though I tried to fit in everywhere. And like Poe, I found my greatest happiness in times of solitude, when I could finally take off my mask and be myself. And this is the sentiment that Poe conveys when he says “And all I lov’d. I lov’d alone.”

While this poem conveys an almost universal feeling, Poe makes it his own at the end:

From the thunder, and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.

Here we are provided with a glimpse into the creative mind of Edgar Allan Poe. Poe’s feelings of isolation are the source of his literary expression. He does not see the world as “normal” people do. When he looks into the sky, instead of seeing the blue, he sees the clouds, which reflect the demons lurking within his psyche. And just as a child when he projects those inner demons onto the clouds, as a mature writer, he projects those demons onto his pages.

Like so many tortured youth, Poe looked to artistic expression as a way to deal with his loneliness and face his inner demons. Pain, sadness, and loneliness are prime inspiration for painters, writers, and musicians burdened with the need to have the cathartic release which art provides.

I hope this poem inspired you. Have a great day and thanks for stopping by.

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The Complete Plays of William Shakespeare

This past weekend was a milestone for Stuff Jeff Reads. After publishing my thoughts on The Tempest, I have officially covered every Shakespeare play on my blog. Fear not, though. If you are a Shakespeare fan, there are still plenty of sonnets, as well as some longer poems for me to read and write about.

So here is the list of all 38 plays, with links to my reviews. In addition, you can access everything in my archive via the Books & Poems by Author page. Enjoy, and never stop reading!

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Thoughts on “The Tempest” by William Shakespeare

I like this play a lot, and have read it and seen it performed multiple times. It is such a rich play that one could write volumes on it. Having said that, I decided that I would keep my post short and focus on one of Prospero’s passages that exemplifies the wonder of this play.

You do look, my son, in a moved sort,
As if you were dismay’d: be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp’d towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir, I am vex’d;
Bear with my weakness; my, brain is troubled:
Be not disturb’d with my infirmity:
If you be pleased, retire into my cell
And there repose: a turn or two I’ll walk,
To still my beating mind.

(Act IV, scene i)

Reading this gives you the sense of a wise person nearing the end of their life. The revels of youth are over, and one must accept that we are but actors who have a fleeting role in the human drama. We are spiritual beings destined to melt back into the heavens. Our consciousness is but a dream, and when our sojourn is over, we will drift back into the eternal sleep, becoming one with the universal consciousness from which we emanated.

There is nothing I can say that can add to the splendor of this passage. It is, in my humble opinion, perfect in every way.

I hope you enjoyed this post, even though it was short. May it inspire you to make the most of life, before this insubstantial pageant fades away, into thin air.

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The Confessions of Aleister Crowley: Part 6 – At the Abbey of Thelema

As I have now finished reading all of Crowley’s autobiography, it’s probably time to address the question: Was Aleister Crowley the evil black magician that he was portrayed to be? The short answer is, I don’t know. To quote Hamlet: “there is nothing either good or bad, but thinking makes it so.” And I think this was Crowley’s take on magick, that there is no good or bad magick, there is just magick. He uses the metaphor of music as an example.

Imagine listening to Beethoven with the prepossession that C is a good note and F is a bad one; yet this is exactly the standpoint from which all uninitiates contemplate the universe. Obviously, they miss the music.

(p. 838)

In a manner that is very familiar in our current political climate, Crowley blames the news media of his time as spreading “fake news” about him and his practices, asserting that what was written about him amounted to nothing less than slander.

I replied ‘Allegations utterly absurd.’ My only annoyance was having to pay for the telegram. Presently copies of the Sunday papers for November 28th arrived. I read them with tireless amusement. I had read in my time a great deal of utter balderdash, but nothing quite so comprehensively ridiculous. It gave me the greatest joy to notice that practically every single detail was false. There was, for instance, a description of the abbey, without a single failure to misstate the facts. If a thing was white, they called it red, if square, circular, if stone, brick; and so for everything.

(p. 914)

To sum up, this is a long book, probably longer than it needed to be, but interesting in providing context for the development of the occult ideologies that have had a profound impact on the ideas and practices of those circles ever since. I also, personally, ended this book with the impression that some of Crowley’s stories were embellished, either to establish a cult of himself, or to convey symbolically some mystical information to the careful reader who could notice the subtleties of metaphor woven into the text.

I will close this series on The Confessions of Aleister Crowley with a quote that is most appropriate.

‘The mind is improved by reading.’

(p. 853)

Hope you enjoyed, and keep improving your mind.

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