Sabbatic a

The Seas Of Death And The Arcana Of Death Bringer

As Compiled by Edgar Kerval

Пресвятой Гарри Поттер и Бешенный Летний Санта Клаус представляют

Nephilim Press
2013
 Ac kno w 1edg ement s

Sabbatica emerges as an exposition of spectral seals, opening the astral

paths of sorcery and magick. A convocation of a series of massive volumes,
conjoined in arcane gnosis in order to evoke the primal path, that lead us to
sacred knowledge pouring forth from secret vessels of sabbatic mysteries.
This grimoire is an in-depth voyage to the waters of death, moving from
anthropological to psychological and to the most hidden roots. Focused on
the deep study and development of the patron of death, death deities, and
necromantic rituals. It also contains Necrosophic and Qayanite traditions.
Sabbatica would like to thank each one of the artists, writers and individu­
als who appear in this publication. Special thanks to my brother Phil Brito,
Frank Redd and Nephilim Press for making this publication possible and
the Red Gods for their infinite support and spiritual inspiration.
 “Through The Seas Of Death
We emerge, as arcane seals
Now Broken, A Call To Death Gnosis

A Call To Hidden Mysteries

Always Veiled Beyond Human Consciousness”

Edgar Kerval
- 2013 -

—vil—
 Co nt e n t s
The Death and Resurrection Show.................................................................. 1

Sean Woodward
Dead... But Dreaming; The Arte Of Necromancy, And The Calling Of
The Fallen........................................................................................................ 13

S. Ben Qayin
Drawing Forth The Dead; The Necromantic Ritual of Re-Awakening29

S. Ben Qayin
The Waters of Death and the Graveyard of Stars.......................................... 37

Nicholaj de Mattos Frisvold

Nathtantrika Pitra Paksha Puja (Honoring The Ancestors & Hallowed
Dead)............................................................................................................... 51

Hermeticusnath (Aion 131)

The Last Touch of the GreatPoisoner............................................................ 59

Ljossal Lodursson
The Crown Of Black Thorns: Explorations And Invocations Of Our
Holy Mother Death........................................................................................ 71

Edgar Kerval
The Triumph Of Death...................................................................................83

Claudio Carvalho
Arutam, Muisak, Nekas: “ThreeSouls Of The Shuar”....................................99

Andrew Dixon & Sarah Price

ix
 “In The Garden Of Bones: Working With Death & The Dead In
Pan-Aeonic Witchcraft”...................................................................................Ill

Bradley Allen Bennett

Death Magik And The Psychic Spiritual Nature Of Revenge.......................137

Dante Miel
-Seven Feet Under- The Heart of Fire beneath the Tongue of Silence 147

Kyle Fite
An Automatic Writing
Provocation: Justitia Omnibus...................................................................... 167

Robert Angelo Dalla Valle

Contributors.................................................................................................... 203

-x-
 Visual Art

Dante Miel
Spectrum....................................................................................................... 136

Sean Woodward
Black Snake Ghuedhe Portal...................................................................... xvii
Gros Bon Ange.................................................................................................7
Ti Bon Ange................................................................................................... 11

Andrew Dixon & Sarah Price

Authentic Jivaro Tsantsa................................................................................ 98
Sigil Of Niantiel............................................................................................ 103
Mattie............................................................................................................ 107

Saddie La Mort
Triangle of EREBOS.................................................................................... 112
VGRS Square................................................................................................ 117
Triangle ofNYX............................................................................................. 122

Bradley Allen Bennett

SealofOAShA.................................................................................................116
Sigil of the Bird Serpent Goddess............................................................... 131

Donnie Tincher
Boneshrine.................................................................................................... 110

Claudio Cesar Carvalho

Voudon Atavism.............................................................................................81

— xi—
 Seal of Finality.

Magick Kazin
Ghuedhe’s Gate-...............................................................................................

Robert Angelo Dalla Valle

Pomba Gira da Calunga - One third of a triptych.................................. 166
Faces of MinXx...............................................................................................
Depth - Aphotic: Androctonus.................................................................201

-xiii—
xv~
 vmn

— xvi
 Th e De a t h a n d
Re s u r r e c t i o n Sh о w
Sean Woodward

CC A nd lo, two Angels in White apparel sitting, the one at the head
/ \ and the other at the foot, where the body of the Master had lain,
dL A . who said: ‘Why seek ye the living among the dead?’”
Here in the Adeptus Minor ritual of the Golden Dawn we encounter the
two protagonists of the resurrection engine. It is in such inner rites of many
mystery schools that we can see the ritual drama of the death and rebirth of
the initiate. From the Pastos of Christian Rosencrutz to the Master Mason
Degree can be found the allegory of rising from the pit of eternal sleep.
We can also see it in the Christian baptism ceremony where believers
are born again, in the seasonal cycle of the Witchcraft celebrations and in
the death and rebirth of Osiris. Nowhere is the personification of death
more direct than in the exoteric and esoteric forms of Vudu. Perhaps only
the Horsemen of the Apocalypse come close to this in-your-face, no-holds-
barred reality.
The differences in attitude to the mysteries of death can be seen vividly
in the funerary rites of a people. In the West we have managed to brush aside
real acknowledgement of its reality, replacing it with sex and consumerism,
with medicine and the surgeon’s knife—with anything that will help us for­
get the inevitable. And yet it is interesting to see how we continue ancient
practices, sometimes without even realizing what we are doing. We arrange

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 S ea n W o о d w a r d

photos of family members in groups, creating modern altars to our ances­

tors, to those who helped us with physical manifestation. We treasure an old
watch, cufflinks or pen not just for their retro form, but for the memories
of generations past, of loved ones departed, that they bring. In a world that
increasingly attempts to glorify youth and the now, we find comfort in what
has gone before.
With the Vudu Barons of the Cross and the Cemetery there is no de­
nying the realms over which they have jurisdiction, no doubt about their
nature. To walk with them is to understand the raw, brutal essence of being.
The cult of death, of ancestor reverence is a major component of exoteric
Vudu, but for all the possibilities of unearthly knowledge offered by such
concourse, it is not the ear of these Lwa that we seek, for their work is more
general in nature and it is the specific personal agents of resurrection that
are our allies.
Whilst the Barons and the Ghuedhe family in particular are often feted
by those seeking an understanding of the mysteries of death, it is, however,
not these outward signs of the Death and Resurrection Show which have
come to us down the ages that is of primary interest, rather it is the transfor­
mations at their heart which concern us, the personal impact upon the ini­
tiate and their relationship with Les Mysteries. For initiation is an unveiling
of our own natures, of the lifetimes of work already undertaken and of the
relationships we have forged in this world and beyond.
In exoteric Vudu there is a clear distinction between the realm of the
living and that of the dead. In Haitian folklore there are many stories about
ensuring that the dead remain dead and do not fall prey to the zombi-mak­
ing powers of the Bokors, or workers of Red Magick. Ancestors are stored
in the Govi pot, and after a year and a day, expensive rituals are undertaken
to ensure they rise from the waters. Over time some of these ancestors may
become themselves Lwa. In esoteric Vudu we look beyond these funerary
rites to the very mechanics, means and maps of this process. In the long
journey down the ages, the great magicians of Atlantis took care to encode
the mysteries in totems, which would keep ahve their work on the Earth
as well as to ensure personal continuity of their efforts in future lifetimes.
Their large-scale efforts ensured that sanctuaries were built at nexus points
across the globe, that their inter-dimensional technologies were hidden and
that a transmission of their teachings survived the destruction of their bod­
ies. The greatest of them remained as Lwas, as Hoo and Doo spirits. Others

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 T h e D e a t h a nd Re s u r r ec t io n Sh о w

continued to incarnate throughout the ages. There exist various levels of

access to this knowledge throughout the later civilisations that they were
instrumental in forming, as Michael Bertiaux states:
“The Sumerian levels of the transcendental id or Sumerian
skandhas would serve to provide doorways for an exploration
and entry into the Atlantean and Lemurian levels”

It is in these levels, themselves remnants of older, stellar knowledge, that

the magicians perfected the transmutations of both matter and their imma­
terial selves.
To enable this persistence of identity and mission requires the interac­
tion of the Gros Bon Ange and the Ti Bon Ange. It is these great angels of
being that are the principle players in the continual Death and Resurrection
Show of the adept.
Of course many are familiar with the concept of a soul. In esoteric Vudu
there is a deeper view, one which recognizes a dual nature to our higher
selves and the distinct arenas of influence within which they operate. The
Gros Bon Ange and the Ti Bon Ange bridge the realms of matter and spir­
it; they are vehicles of consciousness, which act as a conduit between the
unseen realms and the realms of experience. Between them is a bond that
unites that self which is outside the circles of time (the Ti Bon Ange) and
that which carries the experiences of many lifetimes (the Gros Bon Ange)
and retains the links with the Jean-Maine Familie of Spirits as well as those
other lattices of energy fields which are pertinent to the development of the
individual. The Ghuedhe Lwa are particularly of benefit as they have assist­
ed the angels of many sorcerers in their education, in the journey between
the worlds and in protecting ancient instruments of illumination from the
profane. Some of these lattices can only be described by multi-dimensional
magico meta-mathematics because they refer directly to the pre-Atlantean,
trans-yuggothian spaces from where they came. Within these lattices are
whole worlds that have been created by the activity of adepts. Due to the ac­
cumulation of knowledge and magickal sciences throughout these lifetimes,
these treasuries remain between the worlds, whilst the angels act as guard­
ians, waiting for the moment they can translate the maps to these places
into the life stream of the adept. For this reason the maps to these spaces
may manifest in a multitude of forms. They can become imprinted on con­
sciousness as a result of a reverie; a form in clouds might suddenly suggest

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 Sean ^ V o o d w a r d

an insight or the work of another, bound into a book may offer the map that
is required. The angels are ceaseless in their efforts to reveal that which has
been hidden by the incarnation into flesh, to awaken the adept to his true
identity and purpose.
It is by the practice of concentrated, directed thought that an environ­
ment conducive to their work can be created, which will allow the creative
energies of the Gros Bon Ange to infiltrate our awareness. The practice
of ‘Digging the Grave’, of enabling the Cosmic Leghba Logos to manifest
through the Gros Bon Ange, is an ongoing, evolving activity. It is essential
to the twin angels that the Great Work of the adept continues its unbroken
course, for in the digging is the form of the Pastos uncovered. In the tomb
of Christian Rosencrutz is seen a model of such magickal machines as might
be employed to aid the twin angels in their duty. This drama of death and
resurrection illustrates the symbolic methods of aligning consciousness in
such a way as to be conducive to the revelations of the twin angels. In the
past it has often taken a shock to jolt awake the beating of the adept. The
physical re-enactment of death and resurrection, with the compliment of
signs and teachings, has often created the paradigm shift necessary for the
adept to recall his true nature.
In the words of the Chief Adept, who takes the place of Christian Rosen­
crutz and who rises from the tomb, is a clear understanding of the transfor­
mation that has taken place, for he states:
“I am the purified. I have passed through the Gates of
Darkness into Light. I have fought upon earth for Good. I
have finished my Work. I have entered into the Invisible. I
am the Lord of Life triumphant over Death. There is no part
of me which is not of the Gods.”
In the Tibetan descriptions of the Bardo there are clues to the under­
standing of the Death and Resurrection Show. For it is the quality of the
light that is key to understanding that we have entered the realm of the dead.
It also has to be remembered that not all rebirths may have happened on the
Earth. There is a multitude of places within the material universe that have
harbored our beings, much as the Tibetan Book of the Dead speaks of the
realms an incarnation may pass into, of Hungry Ghosts and Gods, so they
are the other realms beyond the Solar System, the trans-yuggothian places
that have added to our experiences.
 T h e D e a t h a n d R e s u r r e c t i o n Sh о w

The primary role of our twin angels, however, is to help maintain con­
sistency, to recover what has been lost to memory and to help us store the
treasures of this lifetime for later retrieval.
There are other ways, unengaged instances, Deja-Vu-Vudu moments,
when the Gros Bon Ange will break through the everyday consciousness to
make itself known. These are often events that have not ‘happened before’,
whose mix of circumstances, objects and participants could not have existed
in any prior time. They are, however, examples of the Gros Bon Ange inter­
ceding because the knowledge gained from the Ti Bon Ange has shown the
moment to be a crucial nexus point in the life of the aspirant, a crossroads in
time and space where uncertainty multiplies and the effects of prior actions
are magnified. It is in this crucible, this stirred cauldron of tangents that key
moment choices will be made, courses of actions set in motion which will
have a major impact upon events and the current life of the adept. And so
the Gros Bon Ange possesses the consciousness for an instant, imparting
the importance in the only way it can communicate, by creating a duphcate,
a repeated moment, and a perception of something so similar that it trig­
gers awareness in the fundamental pattern recognition routines of the brain.
When this happens in the waking world, we experience it as Deja-vu. In the
sleeping world the Gros Bon Ange is able to communicate this more easily,
and we obtain the awareness known as lucid dreaming. In both instances it
is the realization that something is wrong with the reality we inhabit that
allows the Gros Bon Ange to startle our consciousness.
As the Gros Bon Ange intersects with the realms of the Lwa, it is able
to communicate more easily through dreams. In extreme cases of jeopardy
more than one Gros Bon Ange will work in unison to protect their hosts. An
example is where real-time events are suddenly remembered to have been
parts of a dream by one person which in turn triggers a memory of dreams
in the second person quickly followed by an intense episode of Deja-Vu-Vu-
du so powerful that it forces them to dramatically change an element of their
current activity and thus avoid any terminal outcomes that the Ti Bon Ange
already had knowledge of. This is an example of a shared nexus point and
demonstrates how the knowledge of these angels can be oracular and act as
agents of change within the material universe.
By the practice of Voyance, of engaging with the spirits and Lwa with
whom there is natural affinity, which has often been created from the rela­
tionships of previous lifetimes, we are able to enter into the secret storehouses,

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 Sean W о о d w a r d

the totem treasures held in trust by the Gros Bon Ange over many lifetimes.
These spirits of Voyance can take many forms and exist in many particu­
lar times and places. By a Pact of Voyance, an understanding that certain
esoteric machines, certain mundane devices will be made known to the in­
dividual by the spirit, certain keys unique to the Vudu voyage of the individ­
ual made available. These keys belong to esoteric machines of illumination,
which exist in the world of the Ti Bon Ange but are essential treasuries of the
gnostic achievements and tools that the esoteric engineer has gathered over
millennia. Some of the keys also function as triggers to enable the mind to
dispel any clouds of forgetfulness, which the experience of being incarnated
back into human form will have produced. For this reason, it is essential that
the relationships between self, Gros Bon Ange and the Spirits of Voyance are
maintained in good standing, that future incarnations may come to quick
awareness of their true identity and role.
In the Golden Dawn symbolism of Christian Rosencrutz, an example of
one of these triggers can be found.
“Upon his breast was the Book T, a scroll explaining in full
the mystic Tarot”
Elsewhere in the ritual, the rose of the Rose Croix is explained as having
22 petals, which represent the force of the 22 letters in nature. The Major Ar­
cana of the Tarot also consists of 22 cards. It is clear that the Book T, or Book
ofThoth, is an esoteric key encoded in pictorial form. It is an example of just
one of the Atlantean engines preserved throughout the ages.
The importance of the relationship with the Spirits of Voyance cannot
be emphasised enough because establishing the conditions which enable the
direct knowledge and conversation of the Gros Bon Ange are difficult to
create and in the early life of the incarnation, impossible to attain without
the intellect to engage therein. It is necessary therefore for the Spirits of Voy­
ance to exist in ways that will protect and direct the development of the
incarnation until it is capable of independent movement and thought, of
experiencing the keys, which trigger awareness and conversation with the
Gross Bon Ange. In this way the Spirits of Voyance act as godparents to the
soul, ensuring that its Vudu voyage remains on track at the earliest moment
of the incarnations new life.

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 S ea n W o о d w a r d

II. A R it ual o f Remem brance

It is in the cycle of Witchcraft celebrations that we find an auspicious time

to dedicate our work with the agents of Voyance. On the night of All Hal­
lows’ Eve, having found a special crossroads location, we call upon the Sa­
cred Twins to deepen our knowledge and conversation of the twin angels.
In Crowley’ Liber ThIShARB, some of the methods for attaining the magical
memory are described. We take the instruments of our arte, the Mirroire
Fantastique, we extend our arms and welcome Leghba, we draw the veves,
we scatter rum and seeds and then we beseech the Twins with the follow­
ing verses.

At the Crossroads I banish those

Dukes of Edom, that ruled in Chaos,
Lost Lords of the unbalanced force,
I call upon Leghba,
Lord of the Light and the Darkness.

Papa Marassa I call upon you

On All Hallow’s Eve, dark and true
I walk backwards, I touch the earth
I gaze into the mirror
Searching, searching.
Bring me the treasures from before my birth
Papa Leghba open the doors beyond the Earth.

Papa Cemitiere I give offerings of food

Come undo my every move
Come change my clothes, come change my face
This night of the dead, where every place
Is a reflection of your world,
I trace the curled symbols of the veves
I heed the rituals of death
Scatter so many seeds
That they’d never be counted before dawn
I keep to the form of matter
And the form of the unseen.
* 3*
 The D eath and R e su rre c tio n Show

This night is for the dead, for the Invisibles,

Ti Bon Ange, I call upon you,
Come speak from gilded glass
Tell me of the future and the past
I recount the names of my ancestors,
Stored in the Govi pot
Stored in the black Lwa stone
Show me those whose faces I have worn
Show me the days before I was bom.

I ask that in the long night

Of my own new displacement
I will attain the state of invisibility
Bone will turn to light again.
Papa Marassa I call upon you
Come shine upon my face
Uncover the spaces
Of your treasures
Ride beneath the bright stars
Whisper the secrets of the cards
On the royal path home.

From the centre of the Earth,

From the Mountain of Initiation, of rebirth
From the chapel of Osiris Justified,
Make this my own tme self
For I seek the alchemist s true wealth
Show me the path ofDaleth, of the door,
The remembrance of all that has gone before.

III. Ret u r n t o If a

Such a request to Les Mysteries will enable the lattices with which they inter­
sect to enter into the life stream of the adept, for it is the same truths that are
communicated in these stories of death and rebirth which have come down
from ancient times and through a multitude of civilizations and practices.
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 S ea n W o о d w a r d

Continued reflection upon the tasks entrusted to the twin angels, the Maras-
sas of being, will engage the vehicle of synchronicity and allow it to be op­
erated by the twins.
In these relationships are many of the mysteries of gnosis, for the Yudu
voyage is a two-sided coin. On the one hand, there is the purpose of the
material universe, of the machinery of matter, to enable knowledge and ex­
perience of the senses. This is balanced by the link afforded by the two angels
of the soul within the cosmic realms of Leghba, of the Perfected Adam. We
continually fall into matter to delight in the joys of existence and rise into
the Unseen, to know the reality of our being. By nurturing our connection
with the Gros and Ti Bon Ange we ensure that we maintain a foot in both
worlds as we walk the path to the mystical city of Ifa.

Bibl io g r a p hy

Hurston, Zora Neale. Mules and Men. New York: Harper & Row, 1990
Regardie, Israel. The Golden Dawn. Llewellyn. St Paul, 1971
Bertiaux, Michael. Vudu Cartography. London: Fulgur, 2010

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 D e a d . ..В u т D r e a m in g ;
T he A rte O f N ecro m ancy, A nd
T h e C a l l i n g O f T h e Fa l l e n
S. Ben Qayin

“Death, the inexorable and pitiless, is it but a release, the separation o f the lib­
erated spirit from the biologic m atter? Or is death actually the fin al destruc­
tion, a total annihilation against the resurrection o f a new life in the morning
sun? Does death lead to the total darkness o f the night or does it bring the
vaunted light to the souls eagerly searching for the portals o f eternal life?

~ D m. E mjle L a u r e n t , *M a g ic a Se x u a u s \ 1934

he re alm o f the Dead: The ethereal shadow land that lies parallel to

T the dense world o f the living, just out of sight as a specter itself on the
edge o f breathing reality. It has been said that the fog-like barriers
that separate our worlds can be m agically worn down, and communication
made possible with those who have crossed over into the cold twilight o f un­
death, still existing, though without the beat o f a heart within their chests
or the feel of warm blood running course through their now barren veins.
The Dead are known to forever wander between the worlds, gliding in the
shadows, thin as smoke, caressing the world o f the living with their cold
waif-like tendrils.
M agicians have long sought the council o f the fallen Dead, seeking secret
knowledge o f lost and hidden things, of treasure and the forbidden future.
Necromancy, or Nekuomanteia [Greek]: Necro- Dead, Manteia- Divination,

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 S. B en Qayin

has been practiced for thousands of years, being traced back to Babylonian
Chaldea and Egypt, though has been most commonly recorded in Greek
history. The first mention o f Greek Necromancy was in Homers Odyssey
(700-650 B.C.E.), where Odysseus raised the Dead through the instruction
of the Witch Circe.
Very little history of this ‘Arte of the Dead’ exists; so much is spread out
over time and location. Of course, there is ancestor worship and the honor­
ing of ancestors recorded in many lands, though it is not held in the same
category as calling the dead forth for the sole purpose of divination, with the
exceptions of religions such as Palo Mayombe, where it is quickly seen that
ancestors are called forth from the Spirit World and employed for various
reasons, including protection of oneself and home, and divination, which
will be examined further on.
One of the main reasons Necromancy was practiced was to Чау restless
ghosts9. That is, bring to peace Spirits who for some reason could not be con­
tent to go on with their existence in the Spirit World, and remained in that
of the living. The Spirits would bring attention to their trouble at hand so it
may be resolved, and they may finally rest. Necromancy eventually evolved
to include divination and was practiced in places called Oracles of the Dead
named 'Nekuomantcions’ that were generally located underground or within
cemeteries or crypts of the deceased. These were secret gathering places that
operated unseen from the condemning eyes of the masses, once Necroman­
cy was seen as vulgar and outlawed. These Oracles were in such places that
desolation knew well. They have always been in areas that Death frequents
and casts His influence on, such as ancient battlefields, gallows trees, or in
areas where violent death has occurred.
There have been noteworthy Magicians throughout history who have
worked this forbidden ‘Arte of the Dead', some unexpected, such as Jesus of
Nazareth who rose Lazarus as well as others. Though 1 don’t consider Jesus
(existing or not) a true Necromancer, as he did not raise the dead for prophe­
cy, but to show people that his father ‘G od’ had chosen him to deliver God's
holy word (slavery) to them. Of course, when one conjures the images of
Necromancy, the famous scene depicting John Dee and Edward Kelly speak­
ing with a Spirit in a cemetery, while inside a magical circle, comes to mind.
However, truly it was not Dee, but Paul Warring in Walton-le-Dale, near
Preston in Lancashire, who performed the rite with Kelly. One of the most
detailed accounts of Necromancy comes from a rather celebrated Magician,

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 D e a d . . . В uи
т D reaming

Eliphas Levi. Levi was hired by a rather mysterious woman dressed entirely
in black with a black veil covering her face, who wished to call up the philos­
opher M agician, Apollonius o f Tyan. Levi writes o f his am azin g experience
raising the Spirit,

“ was clothed in a white garment, very sim ilar to the alb

o f our Catholic priests, but longer and wider; an d / wore
upon my head a crown o f vervain leaves, intertwined with
a golden chain. I held a new sword iti one hand, and in
the other the ritual. / kindled two fires with the requisite
prepared substances, and began reading the evocations o f
the ritual in a voice at first low, but rising by degrees...the
smoke spread, theflam e'cau sed the objects upon which it fell
to waver, then it went out, the smoke still floatin g white and
slow about the marble alter; I seemed to feel a quaking o f the
earth, my ears tingled, my heart beat quickly. 1 heaped more
twigs and perfum es on the chafing-dishes, an d a s the flam e
again burst up, l beheld distinctly, before the alter, the figure
o f a man o f more than norm al size, which dissolved and
vanished away. I recommenced the evocations and placed
myself within a circle which l had drawn previously between
the tripod and the altar. Thereupon the mirror which was
behind the alter seemed to brighten in its depth, a m an s
form was outlined therein, which increased and seemed to
approach by degrees. Three times, and with eyes closed, I
invoked Apollonius. When I again looked forth there was a
man in front o f me, wrapped from head to fo o t in a species
o f shroud, which seemed more grey than white.
“He was lean, melancholy and beardless, an d did not
altogether correspond to my preconceived notion o f
Apollonius. I experienced an abnorm ally cold sensation,
an d when 1 endeavored to question the phantom I could not
articulate a syllable. 1 therefore placed my hand upon the
sign o f the pentagram , an d pointed the sword at the figure,
com m anding it mentally to obey an d not alarm me, in virtue
o f the said sign. The form thereupon became vague, an d
suddenly disappeared. I directed it to return, an d presently

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 S. B en Qa yi n

felt, a s it were, a breath close by me; something touched my

hand which was holding the sword, and the arm became
immediately benumbed as fa r as the elbow. I divined that
the sword displeased the spirit, and 1 therefore placed its
point downwards, close by me, within the circle. The human
figure reappeared immediately, but 1 experienced such an
intense weakness in all my limbs> and a swooning sensation
came so quickly over me that I made two steps to sit down,
whereupon I fell into a profound lethargy, accompanied by
dreamst o f which I had only a confused recollection when I
came again to myself For several subsequent days my arm
remained benumbed and painful. The apparition did not
speak to me, but it seemed that the questions I had designed
to ask answered themselves in my m in d ..” - Eliphas Levi,
Transcendental Magic: Its Doctrine and Ritual, 1896

Ironically, Apollonius practiced Necromancy him self by raising the fa­

m ous Spirit o f Achilles. Unlike most Necromantic rites, he did not perform
a rite at all, and offered none o f the traditional libations to bring forth the
Spirit. Instead, he offered but a simple prayer or calling to the Ghost,

uO Achilles, most o f mankind declares that you are dead, but

I cannot agree with them, nor can Pythagoras my spiritual
ancestor. I f then we hold to the truth, show to us your form ;
fo r you would not profit not a little by showing yourself to
my eyes, if you should be able to use them to attest to your
existence. ”

Traditionally, there are several different methods for evoking the Dead,
or holding congress with them in the Underworld. One method stems from
the honoring o f ancestors by way o f libation o f various substances. This ac­
count of practice is detailed in H om ers Odyssey where Odysseus (as men­
tioned) raises the Spirit Tiresias; a blind prophet who would reveal the future
o f his (Odysseus) journeys, who dwells in Hades. When in the Underworld,
Odysseus begins his Necromantic Arte by first digging a sacrificial pit to
hold the libations to be used. Once done, he pours a mixture o f milk and
honey around the pit, followed by sweet wine and finally fresh spring water,
all of which are in the end, sprinkled over with barley. Wben all libations
have circled the sacrificial pit, a prayer is given to the Dead pledging them
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 D ea d . . .Ви т D reaming

upon returning to the world o f the living, the best sterile heifer o f the heard,
and 'treasures* to be burnt upon a pyre in their honor. Once this recitation
has com m enced, a separate and personalized prayer is offered to the Spir­
it, in O dysseus’ case, Tiresias, that promises (again, upon his safe return)
the sacrifice of an all-black ram. At last, with a bronze sword, he bleeds
two black sheep o f opposing sex into the prepared sacrificial pit, at which
point the Dead appear and draw near to quench their thirst and obtain the
strength and life energy that lies within the spilt blood. Odysseus is in need
o f the bronze sword to keep the Spirits at bay, keeping them clear o f the
blood which gives them the ability to speak and have tangibility. O dysseus
proclaim s to the restless Dead,
“ With my sharp sword again unsheathed 1 watched over the
pit o f sacrificial blood, lest any o f the fragile dead draw near
that blood before 1 met Tiresias.}>

Only is Tiresias allowed to partake o f the blood so that intended interac­

tion may occur. This use o f a sword in N ecrom ancy is largely reminiscent o f
L e v fs already given account, and is a recurring theme or element within this
praxis. It is interesting to note that a physical sword, surly being magical,
has the ability to harm a spiritual entity. This belief is also a central theme in
Arabic mysticism concerning Djinn.
The use o f Blood Sorcery in Necrom ancy is also very important. Blood
is a vital power source to be used by the Dead to appear and communicate.
Though there are other rites o f evoking the Dead, they generally take m any
days to gather the needed energy for the Spirit to appear. However, when
blood is utilized, its energy is so strong that the Dead can easily draw from
it what they require for interaction with the M agician alm ost immediately.
Blood Sorcery has been practiced since man began to use M agic. A true
M agician naturally feels and understands that this personal substance that
gives us life is powerful without equal. It is the ultimate sacrifice when giv­
en, the ultimate energy source for Spirits o f all kinds to draw from, and the
M agician s personal life signature. It is the Spirit in material form, the 'Phi­
losophers Stone' o f crim son red. 1 have written on this subject at length in
a piece titled, “The Arte O f B lood” featured in “Q liphoth” O pus II, so I will
not go on here, except to reinforce the necessity of this vital liquid in rites
concerning quickly draw ing forth the fallen Dead.

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 S. B e n Q a y i n

Another interesting exam ple o f N ecrom ancy resides in Lovecraft’s work,

The Case o f Charles Dexter Ward, where Ward recites a Necrom antic evo­
cation to raise his ancestor. The rite involves Yog-Sothoth as the ‘Keeper of
the C rossroad s’. W hether fact or fancy, it is interesting none the less. The rite
involves having the ‘salts” or ashes o f the deceased an d reading an evocation.
The use o f ‘salts’ in N ecrom ancy has been described by Borellus, a seven­
teenth century philosopher/alchem ist,

“The essential Saltes o f A nim als may be so prepared an d

preserved, that an ingenious M an m ay have the whole
Ark o f Noah in his 01172 Studie, an d raise the fine Shape
o f an A nim al out o f its Ashes at his Pleasure; and by the
lykc Method from the essential Saltes o f hum ane D u stt a
Philosopher may, without any crim inal Necromancy, call up
the Shape o f any dead Ancestour from the D ust where into
his Bodie has been in c in e r a t e d - Borellus

The evocation to raise the Dead is as follows,

"Per A donai Eloirn, Adonai Jehova, Adotiai Sabaoth ,

M etraton On Agla M athon, verbum pythonicum,
mysterium salaniandrae, conventussylvorum, antra
gnoniorutn, daetnonia Coeli God, Almonsin, Gibor,
fehosua, Evant, Z ariatn atm ik, veni, veni, veni.
(Said in repetition fo r two hours),

D IES M IES JE SC H E T BO ENE D O ESEF DOUVEM A

E N IT E M A U S!

Yi-nash-Yog-Sothoth-he-lgeb-fi-throdog-Yah !
Y’A l ‘NG'NGAH,

YOG-SOTHOTH,

Н Ъ Е-VGEBy

F A I THRODOG,

UAAAH Г
A nd to lay the D ead to rest again, the evocation is repeated, with the
om ission o f the last section to be replaced with,
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 D e a d . . .B u r D r e a m i n g

"OGTHRQD AI'F,

G EB’L— EE'H ,
YOG-SOTHOTH ,

NGAHNG A IX
ZHR Г
There are other lengthier m ethods o f calling the Dead forth; this next ex­
am ple is again related by Levi, though I hesitate to quote here as it is lengthy,
but find it such an exact description o f this specific Arte o f the D ead, that I
have decided to include it here for those who are in need o f this inform ation
and wish to follow its exam ple. The ceremony/ritual is accessible from a LHP
point o f view, as there are no Holy orations or devotions given to the D em i­
urge. Where such is needed or wanted, the M agician applies patron deities
as they desire. This rite is designed to focus on the Spirit being called forth,
not on a Deity or the M agician himself/herself. The procedure is as follows:
“ We must, in the first place, carefully collect the memorials
o f him (or her) whom we desire to behold, the articles he
used, an d on which his impressions remains; we m ust
also prepare an apartm ent in which the person lived, or
othenvise, one o f sim ilar kind, and place his portrait veiled
in white therein, surrounded with his favorite flowers, which
must be renewed daily. A fixed date must then be observed,
either the birthday o f the person, or that day which was most
fortunate fo r his and our own affection, one o f which we
may believe that his soul, however blessed elsewhere, cannot
lose the remembrance; this must be the day fo r the evocation
and we must provide fo r it during the space o f fourteen days.
Throughout this period we m ust refrain from extending to
anyone the sam e proofs o f affection which we have the right
to expect from the dead; we m ust observe strict chastity; live
in retreat, and take only modest and light collation daily.
Every evening at the sam e hour we m ust shut ourselves in the
chamber consecrated to the memory o f the lamented person,
using only one sm all light, such a s that of a funeral lam p
or taper. This light should be placed behind us, the portrait
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 S. B en Q ayin

should be uncovered and we should remain before it fo r an

hour, in silence; finally, we should fum igate the apartment
with a little good incense, and go out backwards. On the
morning o f the day fixed fo r the evocation, we should adorn
ourselves a s if fo r a festival, not salute anyone first, make but
a single repast o f bread, wine, and roots, or fru its; the cloth
should be white, two covers should be laid , and one portion
o f the bread broken should be set aside; a little wine should
also be placed in the glass o f the person we design to invoke.
The meal must be eaten alone in the chamber o f evocations,
and in the presence o f the veiled portrait; it must be all
cleared away at the end, except the glass belonging to the
dead person, and his portion o f bread, which must be placed
before the portrait. In the evening, a t the hour fo r the regular
visit, we must repair in silence to the chamber, light a fire
o f cypress wood, am i cast incense seven times thereon,
pronouncing the name o f the person whom we desire to
behold. The lamp must then be extinguished, and the fire
permitted to die out. On this day the portrait must not be
uttveiled. When the flame is extinct, put more incense on the
ashes, and invoke God according to the form s o f the religion
to which the dead person belonged, and according to the
ideas which he himself possessed o f God. While making this
prayer we m ust identify ourselves with the evoked person,
speak as he spoke, believe in a sense as he believed; then,
after a silence o f fifteen minutes, we must speak to him a s if
he were present, with affection and with faith, praying him
to manifest to us.

Renew this prayer mentally, covering the face with both

hands; then call him thrice with a loud voice; tarry on our
knees, the eyes closed and covered, fo r some minutes; then
call again thrice upon hint in a sweet and affectionate tone,
an d slowly open the eyes. Should nothing result, the same
experiment must be renewed in the following year, atid if
necessary a third time, when it is certain that the desired

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 D e a d . . .В и т D r e a m in g

apparition will be obtained, and the longer it has been

delayed the more realistic an d striking it will b e ”

“Evocations o f knowledge and intelligence are made with

more solemn ceremonies. If concerned with a celebrated
personage, we must meditate for twenty-one days upon his
life an d writings, form an idea o f his appearance, converse
with him mentally, and imagine his answers; carry his
portrait, or at least his name, about us; follow a vegetable
diet fo r twenty-one days, and a severe fast during the last
seven. We m ust next construct the m agical oratory. This
oratory must be invariably darkened; but if we operate in
the daytime, we may leave a narrow aperture on the side
where the suri will shine at the hour o f the evocation, and
place a triangular prism before the opening, and a crystal
globe, filled with water; before the prism. I f the operation be
arranged fo r the night the m agic lam p must be so placed that
its single ray shall be upon the alter smoke. The purpose o f
the preparations is to furnish the m agic agent with elements
o f corporeal appearance, an d to case as much as possible the
tension o f im agination, which could not be exalted without
danger into the absolute illusion o f dream.

For the rest, it will be easily understood that a beam o f

sunlight, or the ray o f a lamp, colored variously, and falling
upon curling an d irregular smoke, can in no way create
a perfect image. The chafing-dish containing the sacred
fire should be in the center o f the oratory, and the alter of
perfum es close by. The operator must turn toward the east
to pray, and the west to invoke; he must be either alone or
assisted by two persons preserving the strictest silence; he
must wear the m agical vestments, which we have described
in the seventh chapter and must be crowned with vervain
and gold. He should bathe before the operation, and all his
under garm ents m ust be o f the most intact and scrupulous
cleanliness. The ceremony should begin with a prayer suited
to the genius o f the spirit about to be invoked and one which
would be approved by him if he still lived. For example, it

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 S. B en Q a y in

would be impossible to evoke Voltaire by reciting prayers in

the style o f St. Bridget. For the great men o f antiquity, we may
see the hymns o f Cleathes or Orpheus, with the adjuration
terminating the Golden Venus o f Pythagoras. In our own
evocation o f Apollonius, we used the m agical philosophy o f
P atriciusfor the ritual, containing the doctrines o f Zoroaster
an d the writings o f Hermes Trismegistus. We recited the
Nuctemeron o f Apollonius in Greek with a loud voice and
added the follow ing conjuration,

“Vouchsafe to be present, О Father o f All, an d thou Thrice

Mighty Hermes, Conductor o f the dead. Asclepius son o f
Hephaistus, Patron o f the Healing Art; an d thou Osiris,
Lord o f strength a vigor, do thou thyself be present too.
Arnebascenis, Patron o f Philosophy, and yet again Asclepius,
son oflm uthe, who presidest over poetry.

Apollonius, Apollonius, Apollonius, Thou teachest the

M agic o f Zoroaster, son o f Orornasdes; an d this is the
worship o f the G o d s” ~ Eliphas Levi, Transcendental M agic:
Its Doctrine and Ritual, 1896

When looking at the use o f libations in connection with honoring the

Dead in this example, the Afro-Brazilian spiritual traditions again come to
m ind, though I will not go into detail here, as there are other skilled M agi­
cians who are covering this subject in length within this com pilation. What
I will do in place, is shortly exam ine a related practice o f honoring the Dead
and working with them in the form o f the recently surfaced, though long
practiced, Qayinitic tradition o f honoring ancestors o f Spirit, rather than
o f blood (unless applicable), which draws its power from praxis very sim ilar
to that o f the A fro-Brazilian traditions, as well as from Traditional Western
Cerem onial structures. In the Holy text o f Liber Falxifer, we see a great fu s­
ing o f these two different and ancient m agical system s into one very solid
and powerful m anifestation.
W ithin the Qayinite tradition, libations are given in honor of Holy Q a­
yin, Lord o f Death at 12:00 a.m . every M onday night. O fferings of Incense,
Liquor, Water, Tobacco, Bread, Flowers and Blood are given to the Rebel­
lious One. These offerings are very sim ilar to the ancient offerings given by
the already mentioned O dysseus to the Dead,
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 D ead ...Вит D reaming

“ When in the underworld, Odysseus begins his Necromantic

Arte by first digging a sacrificial pit to hold the libations to
be used. Once done he pours a mixture o f milk an d honey
around the pit, followed by sweet wine an d fi?ially fresh
spring water, all o f which are in the end, sprinkled over with
barley
It is believed by the Cult o f Death, uTemplum Falcis Cruentis*\ that Qa-
yin is the son o f Samael, and as such they are in relation, His son/daughter.
However, this lineage does not flow in the form o f blood, but o f Spirit. In
other words, one who is born into a family o f C hristians can still be o f the
Holy Blood o f Qayin. The link is not a physical one, blit one ethereal on the
plane o f Spirit. Once those o f Qayin pass on, they are able to be accessed and
worked with as guiding and protective Spirits, assisting the M agician in a
great m any tasks and situations.
Qayin is also seen as ‘The Lord o f D eath’, for the slaying o f His brother,
clay born Abel. He is known as ‘the first tiller o f the Earth, and first killer
o f m an’. Thus, all o f Death s attributes are assigned to Him . O f course as
mentioned, there is the Holy Bloodline o f Qayin that has passed on into the
Spirit realm. When working with the Holy D ead, they must be treated with
great honor and respect.
1 must say that I am not officially involved with the Temple, but follow
many o f its recorded traditions. I offer this inform ation only as an overview
and study o f the Cult o f Death and its practices, and not as an official m em ­
ber relaying teachings. I in no way am speaking against the Cult; I honor
their ways. However, I also hold the belief that one needs not be an official
member o f anything, if one is bom o f the energetic current naturally.
When one begins to contemplate Necromancy, generally it is thought
that only the Spirit is brought forth in ritual to com m une with. However,
there are cases where the ‘dead ’ body is again infused with a sort of life and
spirit, so that com m unication may be achieved with the living. One ancient
Greek exam ple is a tale by Lucan titled Phar$alia> 65 C.E., where the char­
acter Erictho reanim ates the corpse o f a Pompeian soldier by pum ping hot
blood into it along with m agical herbs. Barbarous words are then spoken fol­
lowed by the evocation of various Underworld deities, causing the soldiers
Spirit to appear. The Spirit refuses to possess his now rotting corpse, but is
forced inside by the lashings o f a snake wielded by Erictho, and with threats

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 S. B en Q avin

to the Spirit concerning the Underworld, which is very reminiscent o f the

use o f ‘The Spirit Chain' in Goetic work, also being o f Greek origin.
As well, there is the use of skulls in the Necromantic rites o f the Greeks,
which is also used in the sacred rites in connection with the Dead, being
used as ‘Oracles* for divination, within the praxis o f the “Ternplum Falcis
Cruentis". And though there is a history of this, it has been covered well
recently in Daniel Schulke*s, Veneficium, and I don't wish to repeat what has
already been given.
This idea o f a magically revived corpse would fall under the classifica­
tion o f a ‘Zombie*, or the re-animated Dead. These ‘Dead* are brought back
to anim ation magically through various secret rites. Haiti is long known
for its history o f W alking Dead. William Seabrook, who was an old drink­
ing friend o f Aleister Crowley, speaks about tales he had heard o f Zombies
working in sugar fields under the light o f the moon while black smoky Spir­
its circled overhead. Unlike the examples of Greek and Engl ish corpse re-an­
imation, the Haitian ‘Zombie’ was said to be soulless and unable to speak,
thus m aking it useless for divination.

“...Zom bies prayed neither to Papa Legba nor to Brother

Jesus, fo r they were dead bodies walking, without souls or
m inds”..."But the Zombies shuffled through the market­
place,, recognizing neither father nor wife, nor mother, and
a s they turned leftward up the path leading to the graveyard,
a woman whose daughter was in the procession o f the dead,
threw herself screaming before the girls shuffling feet and
begged her to stay; but the grave-cold feet o f the daughter
and the feet o f the other dead shuffled over her and onward;
and as they approached the graveyard, they began to shuffle
faster and rushed among the graves, and each before his
own empty grave began clawing at the stones and earth to
enter it again; and as their cold hands touched the earth of
their own graves, they fell and lay there, rotting carrion.” ~
W.B. Seabrook. The M agic Island, 1929

I must include Seabrook s own personal experience o f meeting three

‘Zombies' in a sugar field in the middle o f the day, simply because it is so
fantastic,

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 D e a d . . . В и т D r e a m in g

uMy first impression o f the three supposed 'Zombies’, who

continued dumbly at work, was that there was something
about them unnatural and strange. They were plodding like
brutes, like autom atons. Without stooping down, I could
not fu lly see their faces, which were bent expressionless over
their work. Polynice touched one o f them on the shoulder,
motioned him to get up. Obediently, like an anim al, he
slowly stood erect - and what 1 saw then, coupled with
what 1 h ad heard previously, or despite it, came a s a rather
sickening shock. The eyes were the worst. It was not my
im agination. Tftey were in truth like the eyes o f a dead m an3
not blind, but staring, unfocused, unseeing. The whole face,
f o r that matter, was bad enough. It was vacant, a s if there
was nothing behind it. It seemed not only expressionless, but
incapable o f expression. 1 had seen so much previously in
H aiti that was outside ordinary norm al experience that fo r
the flash o f a second I had a sickening, almost panicky lapse
in which / thought, or rather felt, ‘Great G od\ maybe this
stu ff is really true, and if it is true, it is rather awful, fo r it
upsets ‘everything\ By 'everything' 1 meant the natural fixed
laws and processes on which all modern human thought and
actions are based.” ~ W.B. Seabrook, The M agic Island, 1929
Another fantastic personal account o f Necrom ancy that occurred in
Africa which involved the evocation o f the Spirit o f a fallen king (that act­
ed as solid re-anim ated flesh) is given by Frederick Kaigh in his 1947 book.
Witchcraft and M agic o f A frica. He describes a ceremony he witnessed o f a
tribe that had lost its king, and needed to evoke him to ask who should be
appointed to the then vacant throne. This sm all series o f excerpts speaks o f
the kings* sudden appearance and the authors am azed reaction in response:
“N katosi, the chief with whose corpse I had but a few hours since encoun­
tered so much trouble, is sitting quite unconcernedly on his throne. I did not
see him come, but I saw him there as plainly a s I can this sunny afternoon see
the policeman on his beat outside my window. Everyone present sees him as
clearly a s I do.”.. “ With all too vivid memories o f the recently seen, vile and
stinking corpse, I feel none too well at this dem onstration”..."For the first time
he rises, an d fo r the first time, his feet actually touch the earth. After that he
makes no more sound, an d from that moment he gradually begins to look less
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 S. Ben Q ayin

m aterial as it were. He turns away from the people to face the moon, and it
is then that, fo r the first time, we see the dim outline o f the horrid bashed-in
wound in the back o f the skull. He walks slowly and majestically down the lane
o f the moon, and thus, naturally and simply, sets out on his long lost journey
~ Frederick Kaigh, Witchcraft and M agic o f Africa, 1947
Though this is clearly an account of true Necromancy, the Spirit called
forth was able to take on a completely solid form without entering its phys­
ical ‘dead ’ body. This is reminiscent o f Levi’s account o f the seeing and be­
ing touched by the Spirit Apollonius in full physical form. These examples
should be seen and remembered as a warning to the M agician, as to the
strength the Dead possess and wield.
There are other dangers to be warned of. When working with the Dead,
some ancient Necrom ancers believed they must meet them 1halfway*, that
is, in a middle ground between the world o f the living, and that of the dead.
They w'ould leave their body in order to travel to the Underworld, or close
to it. The danger presented here is the M agicians being drawn too close the
Spirit world, and then not having the strength to return to their living bod­
ies, thus being fated to join the ranks o f the Dead themselves. A s well, let us
not forget the warning words o f Lovecraft’s Necromancer, Jedediah Orne
o f Salem,
U1 say to you againe, does not call up Any that you can not put
down; by the which I meane, Any that can in Turtle call up
somewhat against you, whereby your Powerfullest Devices
may not be o f use. Ask o f the Lesser, least the Greater shall
not wish to answer; and shall commando more than you.” ~
H.P. Lovecraft, 7he Case o f Charles Dexter Ward, 1943

I have felt that a bit o f background was needed on this subject o f Necro­
mancy, though I also wish to contribute to this forbidden Arte in the form
o f a single ritual derived from ancient traditions, and infused with new con­
cepts. Looking at Necromancy through scientific/magical eyes, I analyze the
mechanics o f the Arte and look to isolate the m ethods (that resonate with
me) that make it work. As Frazier would say,

". ..to draw out the few simple threads o f which the tangled
skein is composed; to disengage the abstract principles from
their concrete applications; in short, to discern the spurious
science behind the bastard art.” ~ The Golden Bough, 1890
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-27-
 S. B en Q ayin

I have found that» as with most all rituals, it is the culminating o f energy
that ensures the success o f a Necromantic rite. One must have obtained, or
generated, enough power to reach through the barriers of the worlds and
make contact with the entity intended. Often times, this is done before the
ritual even begins, though through ritual, great energy is also brought up
and directed at the intended contact and communication. It is known that
adjusting on es energy to a specific current is also o f great help in ensuring
this success. As an example, when working with Lovecraftian Entities, one
should immerse themselves in that particular current by reading Lovecraft,
meditating in twilight while speaking the entities names with intent to be
heard, and o f course practicing various forms o f Lovecraftian ‘Fringe* M ag­
ic, such as is presentedjn Volubilis Ex Chaosium.
When working with the Death Current, one must align themselves with
this energy as well. Personally because I work with Chthonic Spirits regu­
larly, I wear a 300-year-old coffin nail around my neck at all times, to help
me keep in touch with this current. As well, when working with the Dead
and Chthonic Spirits, I use an oak wand that was ritually harvested from an
ancient gallows tree. These items in combination with other 300-year-old
coffin nails, graveyard soil and bones of the Fallen, create a concentration of
Death energy that powers any rite involving communication with the Dead.
Necromancy is a little known art, leaving many areas open for the Nec­
romancer to experiment with and study. Its history is ancient and hidden,
shrouded away from the light o f normalcy and ‘Natural Law*. There are many
reasons one would utilize this dark art, but perhaps its use is truly based on
our curiosity to know what lies ahead o f us. For the darkness will indeed
come and claim us all, we are in this very moment being stalked by Death.
He is behind you, to your left. And, once we are 'gone\ perhaps someone
will call us up, ask us o f our knowledge, o f our times and life. The following
ritual is accessible to all who wish to utilize it. However, in the great spirit o f
Lovecraft, this rite is also intended for my personal use...I ask the ancestors
o f my true bloodline, that I call to through these written words, across the
seas o f time that now separate us, to use this ritual to call me up once I have
‘g one\ to raise me from this blackened earth once again...for I will com e...

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 D r a w in g F o r t h T h e D e a d ;
T h e N e c r o m a n t ic R it u a l
o f R e -A w a k e n in g
S. Ben Qayin

he N e c ro m a n tic r itu a l being presented here is based on the var­

T ious m ethods o f N ecrom ancy discussed throughout this piece. It

brings together the effective elements needed to generate the power
to push through the barriers that lie between the world o f the living and that
o f the Dead. It is designed to raise a great am ount o f energy, while sim ul­
taneously descending the N ecrom ancer into a deep state o f consciousness.
In this m anner, the N ecrom ancer is ritually descending down into the U n­
derworld, while the Dead are being raised up from out o f it, creating a ritual
space o f tw ilight, 'halfway* between the worlds.
This ritual should be held indoors in a large area, or partially indoors
if there are holes in the roofing and w alls. It should take place somewhere
abandoned, forgotten with tim e, somewhere deserted or decayed where
m em ories linger a s dust upon an untrodden floor. A place like a forgotten
w arehouse, in the basem ent o f an old house, in the attic o f a strange factory,
somewhere that is scarcely frequented, but that once w as, would be ideal.
The N ecrom antic Circle is best m ade using white chalk, as it will not be
disturbed when the N ecrom ancer travels the descending staircase into ‘the
spaces between’, though crushed eggshells or flour may be utilized. The cir­
cle is 12ft. in diam eter. A t 4 Vi ft in from the outer edge o f the circle, another
circle is draw n with a diam eter o f 3ft. Ail edges o f the inner circle should
be 4 Vi ft, from the edges o f the outer circle, placing it in the direct center o f

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 S. B en Q a y in

the larger circle. Locate the North o f the large circle using a com pass, and
begin a spiral pattern counter-clockwise or widdershins around the inside
of the large circle three times, ending at the North edge o f the smaller circle.
Starting again at the top or North edge o f the large circle where the spiral be­
gins, start sectioning off areas as you travel the spiral inward, m aking each
section slightly smaller than the last. The last section should not be smaller
than the size o f the N ecrom ancers foot. On each of the sections or steps, a
pentagram is to be drawn so that they face the inner circle the Necromancer
is to work in. This is done to infuse the circle with energy and strength. From
the inside o f the inner circle looking out, the Necromancer is surrounded
by empowering pentagram s, while from outside the circle, they are seen as
protective pentacles.
When done, the circle creates the illusion o f a descending spiral stair­
case that ends in a sm all circular 3ft. area, where the M agician will call up
the Dead and hold congress with whichever Spirit he has called forth.
The Necromantic Triangle o f Evocation should also be drawn out with
white chalk as mentioned with the circle. And like the circle, it also mea­
sures I2ft. from its apex pentagram (turned facing the North o f the circle), to
its base lying between the two adjacent pentagram s that help form the sec­
ond and third points of the triangle (see illustration). Once the Necromantic
Triangle has been drawn, a 3ft. circle is to be drawn centered inside. This is
known as the Spirit Circle where libations o f blood are offered.
This rite represents the journey into the Underworld, the descent into
darkness, into an un-natural silence, where the Necromancer travels into
the land o f the Dead, and is able to hear their gossam er whispers. This sym ­
bolic descent into the Underworld is reminiscent o f the ancient rite o f walk­
ing a labyrinth, as Thomas Karlsson points out,
“The paths of the labyrinth will deeply influence the mind.
It is claimed that these labyrinths are pictures o f the mind
and the brain. To enter these ancient stone labyrinths is
a form o f initiation. It stages an entry into the centre o f
the Underworld where the core o f the soul and secret o f
existence; the diamond, can be found Thomas Karlsson,
Uthark: Nightside o f the Runest 2002

The praxis o f Traveling around the Magical Circle counterclockwise,

or widdershins, is drawn from an inversion o f an ancient rite practiced in

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 D r a w in g F o r t h T h e D e a d ; T h e N e c r o m a n t ic R it u a l of R e -A w a k e n in g

Freem asonry called cCircum atribulation. An initiate is led around the tem­
ple clockw ise three tim es to honor the "Grand A rchitect” o f the Universe.
Here where it is used, it represents the un-natural flow o f natural laws, and
in effect, is a direct rebellious act directed at the "Grand A rchitect”. B ringing
the Dead back to life is an un-natural act and not what is ‘m eant to be”. N ec­
rom ancy goes against the N atural Order. It is interesting to note that this act
o f ‘Circum am bulaticm 9has been traced back to ancient Pagan R om an tim es,
m ak in g its utilization here a com plem entary fit.
Libations o f m ilk and honey, blood, red roses, and myrrh incense are to
be given in two different ways depending on your location. If outside, pour
the m ixture o f m ilk and honey around the pit or Spirit Circle dug in the
Triangle. The blood o f course is to be drained into the earthen pit, and the
roses are to be placed around the very edge o f the pit. I f inside, pour the m ix­
ture o f m ilk and honey around the Spirit Circle designated for the offerings.
O nce done, utilize a clean black bowl for the blood offered, and place it in the
center o f the Spirit Circle surrounded by the red roses. The m yrrh incense
should be burning Just inside all three points o f the N ecrom antic Triangle,
and there should be enough placed there to burn for a good length o f time.
An oak wand, scepter is needed for this rite, as oak is the wood o f the C ro ss­
roads- As well, if you are contacting a specific Spirit, som e o f their personal
belongings are to be placed within the N ecrom antic Triangle.
A s tradition would have it, a sword is utilized as well to protect the N ec­
rom ancer o f unw anted Spirits, and drive off those who would do harm .
Begin the rite at m idnight. The N ecrom antic Circle and Triangle as well
as all offerings should already be in their place, and all incense lit. Use what­
ever candles are necessary to provide dim lighting. Begin stan din g outside
o f the circle, facing its N orth side, so your back is to the triangle. O nce there,
take a deep breath, and know it is the last one you will take in the world o f
the living, until you again return outside o f the circle. W hen your m ind is
clear o f all internal dialogue, begin by tak in g your first step. A s each step is
taken, trace over the pen tagram s on each step with your oak scepter in fu s­
ing them with power. The M agician slows his breathing, clears his m ind, and
sin k s into a deeper level o f consciousness with each step, so that when finally
arrivin g at the in пег/bottom platform o f calling, he is attuned to the energy

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 M&evJU и м и '

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 D r a w in g F o r t h T h e D e a d ; T h e N e c r o m a n t ic R it u a l of R e -A w a k e n in g

being worked with, and ready to begin the rite. The journey ‘dow n’ should
be slow and steady.
Once at the bottom, in the Circle o f Calling, sit down, close your eyes
and m editate on the blackness that surrounds you. Your wand should be in
your left hand, your sword in your right. Feel the cold o f the night upon your
skin, feel the Spirits o f the Underworld already begin to draw near in antic­
ipation o f the rite shortly to begin. Open your eyes and call to them, bring
them forth, though they can be dangerous, their presence strengthens the
rite. The w ords are whispered softly with Intent, not forceful with Will. They
are spoken slowly with m eaning. W hen you feel it is time, begin,

“D ark Spirits o f forever night,

Sinestral Shades o f liquid soot,
H ear my words. ..
I call you...
Gather round from forsaken nether realms,
Draw near...
Know the warmth o f my living voice upon your cold
dead tears,
Know my Spirit that calls yours from across the Void,
Phantasm al whispers o f Twilight’s Shade,
H ear my words...
I call you...
Lost Specters o f M idnight’s Garden,
D am ned Souls o f Luna's light,
Draw near...
For the Darkness that ever surrounds you..,
Is ever within m e...”

Once spoken three tim es with devotion, the Necrom ancer is ready to
call forth the intended Spirit o f their choosing. Here I leave it to the N ecro­
m ancer to develop their own oration to the lost one they wish to speak with.
It is im portant to remember to be direct with your wording, and patient for
a response. U pon com pletion o f the rite, thank the Spirit for attending and
working with you, inform it that you have no more to say at this time, and
that it is again free to wander in the m ists. When you feel it has departed,
stand and address the Chthonic Spirits that still surround and thank them

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 S. B en Q ayin

for attending as well, but that you now ask them to depart and to do you no
harm, as you are protected under the name of the Dark One, Samael.
Proceed slowly back ‘up’ the stairs to the living world o f man. As each
step is taken, slowly raise your consciousness from out o f the meditative
state it has been in. Before leaving the circle make the sign of the pentagram
in the air in front of you, and cross back out o f the Necromantic Circle. The
rite is finished...

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- 36-
 T h e Wa t e r s o f D e a t h a n d
t h e G r a v ey a r d o f St a r s
Nicholaj de M attos Frisvold

"The power o f death signifies that this real world can only have a neutral im­
age o f life, that life's intimacy does not reveal its dazzling consumption until
the moment it gives out ”

- G e o r g e s B a t a il l e

T
here is a H aitian proverb that tells us: ‘we are all dead, just not
yet buried5. Naturally, this proverb is found am ongst the votaries
o f Bawon Sam edi and the Guedeh laws, because here we find the
m ercury that binds stars and death. M ilo Rigaud associates the Guedeh with
the planet N ebo—M ercury—because psychopom ps and prophets they are.
From this we can see a tem perament revealed in their colour scale o f black,
white and purple. Purple is a colour m ade from a com bination o f blue and
red, water and fire, being the m ercurial snake road where the dead live and
the living die. Purple is the colour o f cardinals and bishops; it is a regal ray
in the Church erected on the bones o f St. Peter— the Bawon o f the Vatican...
So naturally, it is a colour rightfully belonging to Bawon Sam edi, La Croix,
Carrefour and so forth. Purple is the mystery o f setting water aflam e as the
blood o f lam bs drips from the cup of Helios and gives life to the B aw ons
bones. It is the colour o f resurrection and transubstantiation—a mystery the
C hristian Church adopted from the practices o f Greeks and R om ans, where
the dead were quickened by wine, water and bread. Som e exam ples are the
cakes and H aom a wine in the cult o f M ithras that went through a m ystical

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 N ic h o l a j de M a t t o s F r isv o l d

transformation foreshadowing the entire mystique o f the Eucharist. Tran-

substantiation is a primitive doctrine, the sanctification o f something ordi­
nary into something otherworldly, like turning bread into flesh, water into
wine and wine into blood. As such> the Guedeh are this mystery and Bawon
Samedi is the cardinal presiding over it.
Upon death we can be forgotten and enter a state o f forgetfulness as we
cross the river Lethe. We can, by heroic deeds or by being loved by nymphs
and daimons, become stars and starry constellations as we can ascend to
the many halls o f Tartaros, or the Elysian fields at the western part where
the end o f the Earth meets Tartaros in the equatorial river Oceanos. For the
Greek goes there was a clear difference between the nekudaimon, or corpse
daimon, and the katachthonios daimon, or underworld daim on—but they
were located in the same realm albeit in different halls. We also know that
many nymphs could walk freely between the invisible realm o f Tartaros and
the world of humans. If we add to these revenants and all forms of undead
spirits and beings, we see that death is quite vibrant. Homer and Hesiod
perceived the world as an egg where our plane of existence was conceived
as a disk or globe in the centre of the egg. Earth would then be the prism
that reflected both heaven and hell, the celestial and the chthonic. In other
words, earth is the balance between heaven and hell.
Death is about perspective, and when the dead ascend to counsel, this
is what they give. Necromancy is the mantike, or divinatory art of using the
'dead" to counsel us, to comfort us, to give revelation. Death is prophecy and
thus Moses, Enoch, Ezekiel and Isaiah were necromancers in their capacity
of prophecy by dream, vision or intoxication. As such, necromancy is simply
the sum m oning and prophetic interrogation with the denizens in the Titan­
ic realms of Tartaros, Oceanos and Hades.
Necromancy as a practice involves prayers, libation and there is often
the air of Solomonic command at play in such workings. It has a distinct
Saturnine flavour to it in its work with earth and all things chthonic, but
rarely have the dimensions o f water and woman been addressed in necro­
mantic discourse and it is this dimension I will seek to comment upon in the
following pages.

W a t e r s fr o m t h e A b y ss

Necromancy holds a markedly masculi6ne aura, but the mystery o f necro­

mancy is only possible by virtue of woman. Woman is the womb o f miracle.
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 T h e Wa t e r s of D eath and th e G raveyard of St a r s

W om an can gestate seeds o f light in the chaotic waters o f the womb and
bring forth life and in th is replicate the dual m ystery o f hell and heaven—be
it birth or rebirth. We see in the accounts o f H esiod and H om er the influence
o f A phrodite in several accounts speakin g o f T artaros and H ades and the
com m union with its denizens. Circe should also be m entioned as she was
the one who gave necrom antic secrets to Homer. Circe typifies the purple
m ystery incarnated by being the offspring o f H elios, the Sun and the ocean-
id Perse. She can, like a nym ph, move freely between realm s, and as such she
w alks the points o f M ercury in the waters o f hell as much as heaven. The tu r­
bulent waters o f secrecy, the ocean o f chaos that gave birth to d ragon s and
the prim ordial race was represented by T iam at and probably the enigm atic
Tethys> foster m other o f Hera and architect o f the starry constellations.
The Guёdeh are w alking the points o f M ercury. They are the shining host
in the abysm al waters o f the Great D ragon. This dragon water is the fabric o f
space, be it Liquid or aerial, and m anifests itself in ‘houses o f G o d *—wom an.
This m ystery is exem plified in traditional V odou by the relationship Bawon
Sam edi holds with the icon o f St. M ary o f M agdalene at the Sepulchre. M ary
M agdalene w eeping at the tomb represents the potency o f transubstantia-
tion; the tears shed in the absence o f love holds the power o f transm utation.
These tears, this ‘dragon water’ from T ia m a ts salty sea, is what resituates
her beloved and brings her star to shine yet again in the celestial graveyard
wrhere heroes and Iwa m ark the constellations.
The waters are where we find death, ancestry and legacy. In our blood,
the m em ory o f how we becam e who we are flows through our heart as a con­
stant rem inder o f this fact. The waters took on an even greater dim ension in
the T ransatlantic crossin g that brought the m em ory o f so m any A fricans to
the m ysterious realm often called C alunga, the palace o f M am i Wata at the
bottom o f the O cean, which holds their legacy.
N ecrom ancy is an art o f water, and it rightly belongs to women as
m idw ives and their capacity o f gestating seeds in darkness to bring them
to light. Fire is the paradoxical product o f this m ystical work with waters.
W omen, like M ary M agdalene or M yriam , sister o f M oses, replicate the role
o f N am an Brijit in Vodou. They are the waters o f recitation an d resurrection,
the nigrom antic water and pulse o f space, liquid an d aerial.
By the use o f m agical w aters we aim , through alchem ical contrast, to
bring fire to quicken our com m union. In this, we replicate the abysm al o r­
der o f death, return and becom ing; because death and transition is truly

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 N ic h o l a j de M a t t o s F r isv o l d

intricate in the life o f any star. Death is o f the Earth, but when it gains m o­
tion by its fusion with water and generates mud, we find mercury, the ele­
ment and spirit o f psychoponips. Earth moves—and so does we—and in this
Nature herself moves through stars and death.
Death is never the end; it is a transition and transformation, a home­
coming o f sorts. Like the Earth itself goes through cycles, mainly mirrored
by seasons and natural phenomena, so do hum ans in their incarnations.
In a sim ilar fashion, the waters revel in the changes and give us rain, hail,
fountains and geysers. Waters are, like earth, of a wide variety o f qualities
ranging from stale and lifeless to invigorating and golden. It is the motion o f
passions, like the Earth is the motion of memory. Waters are blood; it is the
juice o f herbs, the fiery waters from the alchemist s laboratory o f distillation
and the very medium that makes all forms o f attraction possible.
The importance of waters in necromancy is exemplified by the various
formulas of m anufacturing sacred ink and oils—but also the formulae found
in several grim oires where a human skull or head is taken and planted with
black beans in the eye sockets. One example is found in the Bernardakean
M agical Codex and replicated in the Grand Grim oire and Grimoire o f Hon-
orius, although with a distinctly different purpose, namely to catch shadows
or to open a gate for communion. One o f these formulas is given as follows:

At the 29th day o f the Aloon, at the hour o f Mercury, take the
head of a dead matt or o f a black cat that has not a single
white hair. Then, take seven black chickpeas. Put one in the
mouth. one in each ear, two in the nose—that is to say one in
each nostril—and two in the eyes. After you have put them
there, recite the following:

О you Hermes, ?nost holy craftsman of invisibility, о you

Hermes Alercury, Nagodiomeda, Vieophilon, Person, Dona,
Neometa, Prokorsou, I conjure you by God who created you
to make this work o f invisibility effective, in orderfor me to be
invisible, unseen by all men, when I carry the seed.
Put it in a flowerpot and when you water it fo r the first time
use human blood taken from phlebotomy. Take care o f them
until they yield seed. When they are dry, be careful not to lose
any o f the seeds.

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 T h e Wa t e r s of D eath and the G r a v ey a r d of St a r s

The head should then be fed with waters o f a variety o f different proper­
ties to give birth to the ladder o f hell so the dead can ascend. Because, truly,
as Hermes Trism egistus told in his fam ous axiom : ‘as above, so below’; if
Angels can descend, the Dead can ascend.
The Papyri Grecae M agicae gives a host o f sim ilar spells using the heads
of anim als, but often these are workings done with the aid of the Sun and not
with Mercury. This is no surprise seeing that solar deities like Shemesh, O r­
pheus, Apollo and Circe s father, Helios, held a distinct chthonic dimension in
their ability of bringing the Sun to Tartaros. Hence the laurel wand, gold and
the Sun is what tempts and controls this balance that enables necromancy.
In m any cultures, we find stories, myths and legends o f inhabitants o f
invisible realm s, be they fairy, djinn or iwin that abduct the living to their
sanctuary in the wood, the ocean or The other side’. A com m on theme is that
the abducted is thought o f as dead and time moves slower in the place o f ab­
duction, m aking their return a resurrection. To leave this world, this reality
we living have agreed upon, is a death. It is transition and transform ation.
With the Vodou mystes La Siren and Bawon Sam edi, we find the para­
dox of how the living is brought to tem poral death and how the dead become
temporally alive, challenging our worldview and our materialistic ideas of
reality hinting towards a greater dynam ic and a wider landscape of ingress
and expansion.
La Siren, the myste o f seduction, poetry and music, is also the sorcerous
powers o f the Ocean. She is known to abduct babies and to bring sailors to a
watery death. She is usually considered a Rada lwa—and this is true—but we
need to understand that Rada is rasin, o f the root, and not a reference to the
“calm ’ lwa o f Vodoun. Rada is the royal side of Vodou, where the memory of
Ginert and even memories more distant pulsate deeply within each o f the lwa
that find their place there. All of them have their fiery aspect and can turn
Petwo, or la flam beau so to speak. La Siren turns pctwo when she seeks death
and threat, but then she is no longer La Siren, but Brijit, wife o f Bawon Samedi,
where she, like a shark, generates whirlpools in the waters to bring you down
to her dark depths. This aspect o f La Siren is found in the prime representation
o f Bawon Samedi, the cross. The cross holds in Vodou several secret meanings,
and one o f them is that the root o f the cross stretches down in the abysmal wa­
ters where we find Brijit as an Undine Queen, a dragon. Hence together they
are the perfect mercury o f any psychopomp dancing in the waters abysmal
and celestial and generate the possibility for ascent as much as for descent.

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 N ic h o la s de M a t t o s F r isv o l d

This motive is not unique to Vodou; rather we see here a traditional

theme found in several cultures. I will therefore stretch this golden thread
o f waters to Scandinavia and Ireland in order to emphasise this particu­
lar theme.

R a n a n d t h e R o a d o f M e a d

The jotun-w om an Ran was said to have nine daughters m anifesting in the
storm s and waves o f the ocean; hence they represent her nine temperaments,
which also replicates the register o f La Siren through her mother Brijit. In
Norse mythology we find the concept o f Rdrtar vegr; the road o f Ran, and in
her road the shades o f a necromantic theme can be perceived. Ran herself is
associated with gold, so much that gold is often a kenning for her, and gold
is the metal most favoured by the Sun. Skaldrskaparm al says:
Hraud t himin upp glddum to the sky shot up the D eeps Glades,
hafs, gekk seer a f afli. with fearful might the sea surged:
Bordy hygg ek, at sky skerdu. methitiks our stems the clouds cut
Skaut Rdnar vegr mdna Rdn's road to the moon soared upward.

This passage is a poetic rendering from the saga o f H arald H arfagre,

where we find the following written:
Ut d m ar mcetir the assailants on the teeth o f the sea
Mannskscedr Iagar tanna dangerous to all men
Rcesinadr til rausnar like a serpent upon the waters it was
Rak vebrautar Ndkkvf. the vessel's stem making Ndkkvis road

Nokkvi is the father o fN an n a, wife o f Balder, and daughter o f the M oon.

With Balder s death, wolves eat the Sun and Nanna, the M oon, dies o f grief.
By setting Raider’s burial ship on fire, the couple is reunited in HeL. What is
interesting here is that the roads o f Ran and Nokkvi seem to be identical. The
reference to the ‘vessel’s stem ’ is about the serpentine carvings given to the
ships, a sign o f concord and amity with Jorm undgan and the dragon powers
of the Ocean. Not only this, it was also a symbol for this particular road that
stretched from the golden and mysterious depth o f Ran to N d k k v is ship,
the moon. This ship was seen particularly in the w axing and waning phases
o f the m oon whose shape in those junctures would give the idea o f a ship.
As we know from any traditional work with the moon, waxing moon and
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 T h e Wa t e r s of D eath and th e G r a v ey a r d of St a r s

waning moon represents im portant phases o f increase and decrease o f what­

ever speLl is under consideration. We also find Bragf, the patron o f poets and
troubadours to rest in N o k k v fs ship and refresh h im self with special mead
from lotunheim (the abode o f Jotuns), the very sam e mead we find in the
well o f M im ir. This m ead is old and m ade possible by the road o f N ok kvi—
which is also Ran s road. Hence the Moon and the depth o f the Ocean hold
an uncanny relationship with M im ir, ‘the rem em brance o f w isdom 1.
It w as this m ead poets (skaldr/troubadours) drun k from —and it was
also this mead that would cause the particular m em ory that would give gan-
dr and g ald r their power as it was also this mead o f memory that revealed
secrets. The snake road o f Nokkvi and Ran was also the veritable key for
opening the mysteries o f what was concealed—and this included death. This
mead was golden, like the apples o f Idun, like the secret held by R an—the
sam e secret that was found in the belly o f N okkvi s ship.
So we find here a sim ilar mystery playing itself out as we find in relation
to M ary M agdalene at the Sepulchre, as we find in the dynam ic between La
Siren, Brijit and Bawon Sam edi. It is here we find the psychagogia possible,
to ‘rise the d ead 1. It should be mentioned that the epitaph gogia, ‘to lead1,
was com m only used in reference to erotic spells o f love and binding, reveal­
ing a deep connection with the principles o f erotic attraction to resuscitate
the dead and m ake a road for their egress. This is perhaps m ost famously
typified by O rpheus and Eurydice, which reveals that some form o f erotic
bond m ust be forged in a necromantic work. With ‘erotic11 have in m ind the
classical idea that a functional vinculum must be forged by the aid o f eras by
giving attention to the m echanism o f attraction in the bond forged. N atu­
rally the tears o f love and the blood o f a broken heart can serve as a powerful
bond, but there are also the waters o f sorrow and despair as related to Brigid.

B r ig id a n d t h e T e a r s a t E n - D o r

When we em bark on necrom antic work, what are we really working with?
Are we resuscitating the dead, are we calling a m em ory floating in the ether
or are we calling the attention o f spirits o f death? I believe the greater work
o f necrom ancy does traffic with all o f these and also with spirits o f the other
side, fairies and telluric daim ons o f a great variety that have in com m on a
concealed sublunary existence. The necrom ancer and the psychopomp, or
guide o f souls, are both working the points o f Mercury. Mercury, being a
fluid metal, is naturally represented by wines and water used for libations
•4 3 -
 N ic m o l a j de M a t t o s F r is v o l d

and m edium for tran sm u tation and also m agical food for v ario u s en d s, like
the W itches’ Sabbath w ine that also w orks on the p o in ts o f M ercury.
In the biblical b o o k s we find the accoun t o f the n ecrom an cer in the city
o f En-D or. The account is spoken o f in 1. Sam uel 28: 8, 9 where we read:
Then sa id S a u l unto his servants: fSeek me a wom an that
divineth by a gh ost, that I m ay go to her, a n d inquire o f her.'
A n d his servan ts sa id to hint: *Behold, there is a woman that
divineth by a gh ost a t E n-dor *

A n d S a u l disguised himself, an d put on other raim ent, a n d

went, he a n d two men with him , a n d they cam e to the w om an
by night; an d he said : 'D ivine unto me, I p ra y thee, by a ghost,
an d bring me up whomsoever 1 sh all nam e unto thee/
We learn that the n ecrom an cer w as in p o sse ssio n o f an ob, a telasim /
talism an . Ob can also be a reference to a w in esk in , that it w as a p articu lar
w ine that w as the ch arm itse lf It m igh t be that we see here a reference to a
special m ead, w ine or w ater that w ould quicken the dead either by being
used for an o in tin g her a s a m ed ium for receiving the spirit, or as libation to
generate the sn ake road o f ascent for the spirit o f Sam uel. We see here a case
o f d ivin ation by nekudaim on, to resuscitate a co rp se d aim o n . Prayerful la m ­
entations m ade frequent p art o f these types o f work in A ntiquity, and it w as
often the role o f w om en to lam ent in sorrow fu l w eeping to gain the attention
o f the dead an d other chthonic sp irits. The im p o rtan ce o f w eeping— an d its
produ ct, te a rs— is also found in the greater m otive o f Ireland s Brigid.
Brigid holds as her day the m a ss o f can d les on the first days o f February,
itself a lim in ial tim e, a w axin g m oon a s it were, in the cycle o f seaso n s. It is
a glyph in tim e where light is given to the dead in the form o f can d les, food
an d d rin k . Brigid is know n for her night travels and she is also credited with
the origin o f the O gh am oracle in her cap acity as patron ess o f poets. O w ls,
serpen ts an d bees belong to her a s d o doorw ays an d th resh olds— all totem s
w orthy o f a psych opom p an d necrom ancer. She w as also asso ciated with
wells an d sp rin g s a s well a s fires— and from th is she held a relationship with
the in toxication o f m agical w aters, like m ead and beer. She a lso created the
p articu lar form o f p oetic m o u rn in g an d w eeping followed by the death o f
her son R u ad an , w hat is know n a s "keening'. K eening serves the sam e fu n c­
tion as the lam entation and son gs used by the go es in A ntiquity, sp eak in g o f
her in tim acy w ith the realm o f the nekudaim on os.
44-
 T h e Wa t e r s of D ea th and th e G ra v ey a r d of Sta rs

The fair inhabitants o f Annwn, the sidhe or banshee, are said to be in­
habited by Brigid s soul. The sidhe could be sum m oned by the use of keening
and were reputed to give prophecy and oracles—but also death... Brigid is,
amongst many praise nam es, referred to as 'Lady o f the Shores’. The shore
is certainly represented by the Irish coastline—but also it refers to the shore
separating the visible and invisible world. What we see here is a deep con­
nection with female mysteries and the other side, som ething we also find in
the concept o f valkyrias.
This army o f Odin, these misty ‘daughters* o f Freya that were not only
guides o f the soul on their way to Valhalla, but also those who elected who
would be slain in battle and who would live. O din held a particular affin­
ity with them —but the valkyrias were in particular the providence o f the
Volva, given the fact that the Norns were in fact valkyrias. But then again,
Odin was one o f the few’ aesir who had subm itted to the wisdom o f women,
som ething Loki gave him a hard time for in Lokesenrta, which might explain
why Odin was gifted with this army o f valkyrias.
The valkyrias were also known for their connection with the drinking
horns, the mead and gam es o f chance and o f particular importance should
be mentioned the mead they prepared for B alders funeral. The valkyrias
were associated deeply with crows and bees and were said to rest in ‘the airy
sea’, or mist. It follows that fairies, sidhe, norns, valkyrias and their interces­
sors—like the Volva and the votaries o f O din—were psychopomps and nec­
romancers by disposition and could easily facilitate congress across realms.
We see a motive surface; a motive encoded in the icon o f M ary M agda­
lene at the Sepulchre. Resting at the crossroad o f death, flanked by crows, she
allows honey to fall to the ground symbolized by her tears, and necrom an­
tic congress is effectuated by weeping and lamenting as she feeds the grave
wine, water and bread. By virtue o f her icon she exemplifies the simplicity
involved in necrom ancy and the im portance o f the erotic bond and waters.

T h e F o o d o f T o m b s

In works o f necrom ancy we work with m emories, and we do this through

poetry, hymn and lamentation. It is intrinsic that a certain atmosphere is
generated for the psychagogia to occur. O f the more direct strategies wre find
the laying down on the grave in question as candle, oil, wine, water and
bread is fed to the departed as the departed is called by poetry, lament and
ecstasy. This technique o f em bodying the dead is found in several faiths and
- 45-
 N ic h o l a j de M a t t o s F r isv o l d

is always regulated by a certain protocol. There is also the feeding o f the

grave by not laying down. In these cases a sm all fire could be made at the
side o f the grave, and the fire should then be fed ‘death wood’, like cypress
and pine, and the ghost can be com m anded or petitioned to use the smoke
to shape its form. These modes involving fire and earth are by far more
known than the path o f waters; so therefore, I will give some formulas for
working the dead by the use of waters. These workings, albeit simple, tend to
give dram atic results, so I admonish to show care and good sense in the use
of these waters. If you are an apprentice in these mysteries and have no idea
about how to calm whatever rises from below, it is better to refrain.

W o r k s w it h W a t e r s a n d M ir r o r s

Purple Water
One working I have found useful in order to forge a vehicle for spirits from
the other side involves gathering water from a natural spring. You will to this
water add leaves/flowers of laurel, orange, rosemary, datura stram onium and
honeysuckle. These plant parts are macerated in the water when the Moon
is in Cancer, in the night hour o f Mercury. Cognac in sufficient am ounts is
added to the water in order to preserve it. It will then stay covered in dark­
ness until the Moon is w axing or full in any sign ruled by M ercury (Gemini/
Virgo). You will take this water to the location where you desire to have a
com m union with the dead, and you will pour the water over your naked
body, cover yourself with a cotton cloth in white, black or purple and light a
sm all fire. You will here in lamenting ways call up the spirit or deceased one
while you give offerings o f laurel to the fire—or you can fashion a lamp that
you feed with laurel oil. You need to reserve some o f the water and place it in
a vessel of glass whereupon you place a glass fitting. The glass must be dark­
ened or transparent but not a mirror, enabling you to ‘see through’—but the
darker it is the better. This vessel o f glass covered with the m irror will then
be placed in the point o f power and used for scrying.
The prescribed water can also be used as a medium to dissolve planetary
squares and produce a medium for com m union with planetary intelligenc­
es. You will then in the appointed day and hour write out with doves blood
the square in question and charge the square with hymns and fumigations.
The square will then be soaked in the water, and as the ink dissolves with

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 T h e Wa t e r s of D eath and th e G raveyard of St a r s

the water, it can be used for scrying, a body wash or libation to the planetary
spirit, intelligence or genii in question.

Black Water
There is a ‘black water that can be m ade for necrom antic sum m oning. This
water should be m ade when the moon is w aning tow ards its darkness. When
the m oon is in Aries, Scorpio, Leo or Capricorn is an auspicious tim e for
the m anufacturing o f this ‘black water*. You will use water from a spring or
river, this being collected on a Tuesday in the hour o f Mercury. To this water
you will add laurel, leaves o f nutty trees (for instance oak), holly, leaves o f

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 N ic h o l a j de M a t t o s F r isv o l d

m andrake and leaves o f m istletoe and dry white wine. Let the leaves stay
in the water, covered with a black cloth until the appointed time. You will
then bring the basin outside to be witnessed by the m oon s vanishing light.
You will add to the water gold dust and copper dust, and you will light coals
around the basin. When the coals are red hot, they will be fed red wine, and
while still glowing they will be added to the water. Let the water rest under
the face o f the moon for some hours, then take out the coals and the leaves
and cover the water so no light will hit it. This water can then be used as
charm for sum m oning the dead or chthonic spirits in the form o f a libation
given directly on the ground. This water can also be used as food for a bon­
fire, if one works with fire in the sum m oning, as much as it can be used as a
body wash to facilitate possession with the sum m oned spirit. This water can
also be used as drink for the dead where you pour the water directly on the
grave, or to quicken bones buried in another place. If you seek to invigorate
bones, you can take them to a place of power in nature and bury them. At
this place libations o f the water are given every night in the hour o f Mercury
during one lunar cycle and then dug up. This will produce a dream ing bone
or a w ishing bone. This bone needs to be fed regularly with the sam e water
in order to keep it strong.

...A T T H E E N D

Waters represent the field of the dragon, and it is the female mysteries that
make this serpent road from the depth of the ocean and to the heart o f the
moon possible. This dragon road is found in how Bawon Samedi an dN am an
Brijit form a unity mirrored in the relationship Ran holds with Nokkvi and
Odin with Freya that opens gates between all realms. This mead, this wine,
this ob that form s this secret unity is a libation that quickens the dead, like
blood quickens the body. Waters are o f the Moon, but they walk the points
o f Mercury when agitated, and through these paths, roads and possibilities
crooked and straight are made accessible.
From the waters com e the sirens and nymphs o f poetry. It was the wa­
ters that brought Orpheus" head to the island o f Lesbos. And thus it was the
road o f Rkn that was opened for the resuscitation o f O rpheus’ memory as
he rode on the violence o f Brijit and the sweetness o f La Siren. And it is in
this the memory we can resurrect with necromancy lies encoded. Water is a
conductor and it is glass and m irror—that which gives the illusion o f trans­
parency is in reality earth in m otion—and naturally together they form the
•4 8 -
 T h e Wa t e r s of D eath and th e G raveyard of Stars

cornerstone o f any m antike>any attem pt o f crossin g realm s. The n ecrom an­

tic road is o f waters and m irrors, while fire is food and ladder—and since
fire is a ladder, the paradox o f the im portan ce o f water often ends up in the
shade o f the mystery. In the presence o f this mystery, it is easy to forget the
‘fiery* quality o f a turbulent ocean that m oves in waves o f foam as lightning
strik es down to bring m em ory to the surface. Bawon Sam edi an d N am an
Brijit is this m ercurial turbulence on the Saturnin e O cean o f the m any souls
and La Siren is the lunar poetry that causes this movement and veils the
necrom ancer in the w ines o f Venus and M ercury as the invisible and visible
world m erges into a new lan dscape where the dead live and the living die...

- 49 -
-50-
 N a t h t a n t r ik a P it r a Pa k sh a P u ja
(H o n o r in g T h e A n c e s t o r s
& H allo w ed D ead)
Hermeticusnath (Aion 131)

T
h is P u ja (d e v o tio n a l m agickal ritual) is to honor the Dead. The
godfortns are traditional Tantric Deities but with the interesting ex­
ception that an ancient Vedic god, Agni, as the Living Flam e, form s
the gateway for the Dead so that they may come and com m une with the
Living who honor them. We have perform ed this Puja at our Zonule with
our Kula with am azin g results. Last time, a lam p exploded and all o f us
perceived the honored dead about us in a circle just out o f the bon fires light.
Shanti shanti shanti! Peace to the honored dead, gratitude for the blessings
they give us. OM !

(This ritual will appear in a fu tu re book o f rituals tentatively

titled NA TH TA NTRIKA RITUALS)

OM GAN! GAN1PATYE NAM A H ! x3 (offerings to Ganesh)

PH A T x5 BAN ISH IN G
H ands Held
Circle Cast:
SH A N TI SH A N TI SH A N TI! x l l

IN TH IS TIME A N D PLACE O F D ARKNESS

AT THE CROSSROADS OF LIFE A N D DEATH

- 51 -
 H e r m e t ic u s n a t h (AtON 1 3 1 )

A T TH E PORTAL OF THE UNDERW ORLD

L E T US M EDITATE ON YAM A,
THE GOD OF DEATH,
THE BLACKNESS OF TRANSFORM ATION
WHO H IDES THE INNER FLA M E OF LIFE LOVE AND
LAUGHTER!
IGNITING IN THE PLACE OF D ARKNESS
L E T US CALL FORTH THE LIG H T BEYOND LIGHT
SO THAT WE M AY BLESS A N D PETITION
THE HONORED DEAD.
O M ...

OM VAISVANARAYA VIDHM AHE LALELAYA DHIMAH1

TANNO AGNIH PRACHODAYAT x3 (fire Ш)

As a lens o f crystal we m agnify the divine Light Agni, the prim al fire o f
Creation itself, we call forth the portal o f sacrifice and fountain o f blessings
and treasure!
Agni! G od of fire and power and Light be m agnified now through the
lens of the Great Teachers and open the way for the G ods to bless this Puja
and all Present!
Agni! Bring health, wealth, prosperity and Liberation to the Great
Teacher, O ur Beloved Dead and to all beings, including to this Kaula Circle!
Bring Bliss, Bring Joy, bring Victory!!
All we offer to you О A gni is given into the arm s o f the G ods - bring the
Divine Blessings forth to empower and honor this Puja!
Agni, great Patron o f the Tantrika. Giver o f Bliss; you who are at every
ritual and who are Truth, com e be here now; and with you the G ods.
Fill us with the Great Work, let the divine Work through us that the
Greatest Work o f all may m anifest - we all burn with the flame o f Agni!
You are the sunlight, you shine at night within the darkn ess - You are
the Energy G od, the G od o f Transform ation and G uardian o f the sacred
Flam ing G oddess o f Love!
Always com e easily Agni, you are welcome here
May we be as your children, as sm all flames sparked by a massive flame
For we are all Stars!

-5 2 -
 N a t h t a n t r e k a P it r a Pa k s h a PufA

O F F E R IN G S T O T H E F IR E :
OM DEVAN TARPAYAMI N A M A H !x3
Bless us an d bless our work О A G N IST A R FIR E !
M ay all we do
Honor the Gods, the Teachers an d the Ancestors/Friends
M ay all we say an d do
Generate merit fo r them
an d fo r all sentient beings.
OM !
OM NAM O AGNI RUPAAYA M AM A SH A RIRE
STA M BH A N K U RU KURU SVAHA ! x3
Bless us an d bless our work О M AHADEVA!
M ay all we do
Honor the Gods, the Teachers an d the Ancestars/Friends
M ay all we say an d do
Generate m erit fo r them
an d fo r all sentient beings.
OM !
OM NA MA H SHI VAYA! x 3
Bless us an d bless our work О M A H A DEVI!
M ay all we do
Honor the Gods, the Teachers and the Ancestors/Friends
M ay all we say an d do
Generate m erit fo r them
an d fo r all sentient beings.
OM!
H RIM SR1M KR1M PAREMESHVAR1 SV A H A !x3

MAY WE BE BLESSED A N D PURIFIED BEFORE THE

GOD A N D GODDESS, M AY A LL SHADOW S M ELT
AWAY, M AY TH E LIG H T FILL A N D N O U RISH US TH A T
WE M AY HONOR THE BLESSED DEAD.
(Bless the three body centers with smoke from the offeringfire)
OM SH A N T I SHIVA SH A K T I \3
CH ARGE A N D BLESS THE SACRED WATER (TARPAN)
- all extend hands an d pour the blessings into the water

-53-
 H e r m e t ic u s n a t h (A io n 1 3 1 )

- added to the Tarpan are Milk (water), honey (fire), grain

(earth), Jlower petals (air), ghee (spirit)

All chant:
OM MAN1 PADME HUM xl08

O FF E R IN G S T O T H E N O RTH :
OM SHI GURU PA D UKKUM PUJAYAM1 TARPAYAMI
NAM AH SVAHA
OM SHR1 SANTA SHR1 GURDEVM AH ENDRANATH
OM NA M ASTE TO THE CRYSTALLINE OF NATH GURUS!
WE GIVE OFFERINGS OF JOY AND PEACE TO THE
GREAT TEACHERS THE HONORED WISEMEN AND
WOMEN WHO A RE NOW SPIRIT
THOSE OF WISDOM AND POWER AND STRENGTH WE
HONOR YOU
NAM ASTE!

Each goes to the NORTH and offers Tarpan (sacred water) to his/her
TEA CH ERS and to all o f the Honored Gurus, Helpers and Guides.

All chanting OM SH ANTI SH A N T ISH A N T I!

OM PITRUS TARPAYAMI NAM AH!

WE GIVE OFFERINGS OF JOY A ND PEACE TO THE
ANCESTORS
FROM TIME BEYOND TIME, WE OFFER TO OUR
BLOOD, OUR BONES, OUR FLESH
THE GOLDEN THREAD OF DNA AND ALL WHO HAVE
GIVEN US EVERYTHING
THE SILVER THREAD OF LOVE A ND FRIENDSHIP OF
THE EXTENDED CIRCLE
THANK YOU A ND BLESS YOU!
WE ASK TH AT YOU HONOR A N D BLESS US
LOVED ONES A ND FOREFATHERS A ND FOR EMOTHERS
WFIO ARE NOW SPIRIT

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 N a th ta n ttr ik a P it r a Pa k s h a P u ja

THOSE WHO WE R EM EM BER, TH O SE WHO A R E

FO R G O TTEN B U T A BIB E, WE OFFER TO YOU A N D
A SK TH A T YOU H E LP US IN OUR WAY A N D WILL,
W ITH LOVE
N A M A STE!
SESEM E SEED S A RE A D D ED TO THE ТА RPAN W ATER...

Each goes to the SO U T H and offers T arpan (sacred water) to his/her

loved dead, ancestors and frien d s...

All chanting O M SH A N T I SH A N T IS H A N T I!

R E T U R N TO W ESTERN (M ail) ALTAR - FINAL PRAYERS

IN SILEN CE
OFFER TO FIRE
AU burn candles to their honored d ead -

ASATO-M AA, SA D GAM AY A x3

- From untruth to Truth!
TAM A SO M A, JYOTIR G A M AY A 3X
- There lies the light o f wisdom.
M RITYOR M AA, A M RITA M GAMAYAA 3X
- L ead me fro m death to (true will).

OM SH A N TI, SH A N TI, SH A N T I
- Let there be peace in 3 worlds
SV ECCH A CH A R A !
FINAL BOW:
T H A N K YOU О HONORED GODS. TEACHERS A N D
A N CES TORS/FRI END S
R ET U R N NOW TO THE OTFIER SID E B U T BLESS A N D
GU ID E US A S WE N EED
H ELP US W ITH KNOW LEDGE, THE TRUTH OF WILL
A N D BA LA N CED ACTION
N A M A STE! A N D FA REW ELL- Svaha!

-55-
 H e r m e t ic u s n a t h ( A io n 1 3 1 )

H EA LT H W EALTH PRO SPERITY A N D LIBERA TIO N TO

A LL BEIN G S!
M A Y A LL B EIN G S FIN D PEACE!
OM SH A N T I SHIVA SH A K T I x3
P H A T x 5 (ALL WATER L E F T O FFERED TO A TREE)
(Other offerings to the fire a t will - a ll earth ed ...)

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-57-
-5 8 -
 T h e L a st Touch of th e
G r e a t P o is o n e r
Ljossal Lodursson

h ro u g h o u t th e c e n tu r ie s the power o f life and death has been one

T o f the m ost coveted treasures by m agicians, occultists, mystics, ni-

grom ancers and necrom ancers. Som e seek to destroy the d iseases
that weaken the body by concentrating their forces in physical practices and
form s o f power that give them longevity; som e even try to develop m ythical
siddhis such as im m ortality o f the body. O thers seek more effective m eth­
ods such as sow ing death and destruction to annihilate their enem ies and
take control over the life force o f the universe around them. In both cases
the developm ent o f such skills involves a com plete dedication to the Royal
Art in order to obtain a result that can be truly effective; health or sickness,
*san atio-aut cegrotatio” as Rom an doctors would say, is a process o f capacity,
skill, knowledge and possibly o f personal vocation.
In these years o f practice in the art, I have experienced how the flow o f
life energy that is within an d around us is constantly internalized, altered or
transform ed. H indu and N ordic schools agree that the core o f this life force
is found in the breath an d the action o f breathing. Prana or O nd is absorbed
by each individual and is the bridge between the physical body an d the astral
body; in the m om ent when the last breath is issued these two bodies becom e
separated and the Journey to the other wo rid begins. There are various m od ­
ern and ancient grim oires which provide specific techniques that can inter­
fere with the flow o f vital energy from other beings and affect their health
or any aspect o f their lives. These processes are m ethods o f evocation, ritual
curse spells or sym pathetic m agic that represents the death o f the victim .

-5 9 -
 L jo s s a l L o d u r s s o n

Many practitioners become frustrated when trying to destroy their enemies»

trying to m ake their enemies gasp their last breath but realizing that despite
their efforts they are still alive. Part o f this frustration happens because the
result has not appeared in the expected tim e or the disease has not reached
the desired intensity. To perm eate this situation and improve all skills re­
lated to the destruction and ruin o f our adversaries we must integrate an
adequate consciousness capacity related to this work. This is what I call the
Last Touch of the Great Poisoner.

E n t h r o n iz e

The first step is to invoke or enthrone the forces o f death in ourselves, many
practitioners fail in their rituals o f destruction because they do not under­
stand the natural cycle of life and death; they hope to control a force which
they are unfam iliar with. I consider this sim ilar to playing doctor without
knowing the anatom y o f the human body. To further this process the Black
A rts practitioner m ust link his consciousness and will with any intelligence
or spiritual force that rules over death and the dead, destruction and disease;
Dark Father Qayin or the M other o f the Tree o f Death Hella are an excellent
exam ple o f this. Each initiate m ust find, regardless of their tradition, a dark
divinity which may favor him in this work. This is an intuitive process, al­
m ost instinctive and m ust be under all standards a personal choice and not
instilled by som eone else. Once we found that Tutelary Deity, we must delve
into the Underworld to fam iliarize ourselves with his energy. This process
is akin to traveling to the Underworld enunciated by the Greeks as Kataba-
sis and by the Norse as Helwegr, a journey where our consciousness, will
and soul go through a dangerous but empowering road. The practice should
align the three subtle bodies beyond the physical body and align them with
the forces o f transm utation and death so that our being can be able to inte­
grate the best knowledge and energies o f the Chthonic realms.
The Enthronement occurs by perform ing various ceremonies or devo­
tional practices to our Tutelary Deity in order to receive information and
delve into its mysteries. We investigate which offerings are pleasing to our
deity, his prayers and songs, rubrics, sigils or seals inhabited by his magic.
The words o f power, called m antras or galdr, influence on us, and we can
make som e Japas on their behalf to attract their presence. Som e deities have
a particular day on which may be called or held; Tantric Pujas and N ordic
Blot exem plify this. We perform acts o f sincere devotion and surrender to
—6 0 —
 Th e L a st T ouch of the G r e a t Po is o n e r

generate a deep spiritual bond with that power. This practice has a gradual
development and is som ething that takes tim e; the wise Black A rts practi­
tioners understand that good crops are given after a good tim e o f harvesting.
Each journey to the Underworld should be initiated durin g a New M oon/
Dark M oon.

Itineris Carnis - Journey of the Flesh

The first trip to the underworld will awaken in us the blessing o f o u r m ortu­
ary deity in the astral body. To m ake this first trip we follow a 9 consecutive
day process in which we give a constant devotional process tow ards our per­
sonal Chthonic teacher. The num ber 9 represents death as such because it is
the end o f single digits, the 3 x 3 o f the Valknutr, the nine realm s o f H eldrasil
or the 9 roads o f the M exican X ibalba. Every day we light incense in our
altar, take a m om ent to m ake invocations or calls, sin g words o f power, light
candles or leave offerings m arked with the nam e o f ou r deity and anointed
with oils or essences. At this stage we m ust use a m agical tool to accom pany
us throughout the journey. It can be a Japam ala with which we m ake our
calls or a talism an to attract the necrom antic power o f our teacher. This tool
will be the energy’ receptacle o f the journey o f the flesh. As our A stral body
will be the first recipient to receive the wisdom o f this journey, it is com m on
to perceive dream s, daydream s or private trance states in which we will re­
ceive the m ysteries o f this first phase o f the Underworld; here we depend on
our flesh, and we have to hear the voices o f the spirits.

Itineris Sanguinis - Journey of the Blood

The second trip to the underworld awakens in us the blessing o f our m or­
tuary deity in the mental body. The second journey is a little heavier as it
involves the sam e devotional process for a period o f nine weeks. The journey
becom es m ore extensive. Som ething that is critical is that we m ust not stop
under any rule, no m atter how sim ple the daily practice this should not be
suspended; we must nurture the bond with the chthonic kin gdom s and re­
spect the journ ey to the Underworld. The journ ey o f blood shows us mental
im ages, whispers, voices, intuitions or visions. These m ysteries are tran s­
m itted in the second phase. In the journey o f blood we use a wand, a knife
or a sickle as a tool with which we draw sigils in the air o f our Deity during
celebrations or evocation and invocation acts. 1 have seen som e m agicians
abandon the process at this point because when they establish the link with

•6 1 -
 Lj6 s s a l L o d u r sso n

the realm o f the dead it is com m on to lose Loved ones, from pets to fam ily;
they have lost im portant relationships in their lives, m any do not under­
stand that their Tutelary Deity is leading them through an isolation process
in order to tem per his spirit. The loss o f these factors is a form o f personal
transm utation or internal alchem y which seeks to teach the traveler which
im plies the transience o f the world around us. This is the m ystery o f the
Blood, the severance o f ties and ch ain s that bind us to the earth.

Itineris Osseum - Journey of the Bones

The th ird trip to the underw orld aw akens the blessing o f o u r m ortuary deity
in the spiritual body. The third trip is the longest o f all and not m any are
able to com plete it due to its depth and tem poral extent. You need 9 lunar
m onths, 9 x 28 days. As in previous trip s we m ake the sam e daily devo­
tional process, but now we will give to our necrom antic teacher a seat in
our personal universe. To do this we m ake a special cerem ony d urin g each
New M oon or D ark M oon d urin g these nine lu nar m onths. In this cerem o­
ny we m ust try to internalize an d invoke the full force o f the Deity. In these
practices we can use plants or d rin k s that will lead to a lim inal trance in
which we perceive that the breath o f life that holds the Subtle B odies seem s
to weaken. The use o f tobacco, w orm w ood, ayahuasca or any agent that
induces a Thanatopathia status is valid here. Each D ark M oon powerfully
tunes the aw areness o f the individual to receive the m ost profound teachings
about the process o f death; each D ark M oon is su stain in g his will and thus
strength en in g his energy or personal power. D u rin g this trip it is possible to
have o r perceive direct experiences related to death, the dead and the renew­
al o f cycles, funerals, accidents, term inal illnesses, births or drought. The
process may occur m ore outw ardly than the two previous trips. O ur teacher
prepares us to confront the daily death an d rebirth, internally and exter­
nally. This is the experience o f teaching that gets im planted in our bones.
D urin g this phase we will use a receptacle as a tool for our Tutelary Deity, a
statue or effigy m ade with our own hands or established by ourselves. The
statue m ust always rem ain in o u r altar or sacred space, and we use the nine
m onths o f the journ ey to build it. The last day o f the Journey o f the Bones,
we perform a special th an ksgivin g cerem ony to our guide and offer som e o f
our blood, saliva and sexual fluids as a sym bol o f everlasting union with it.
H aving finished the three journ eys we will have com pleted the process
o f Enthronem ent and will now have a deeper understan din g about death

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 T he L a st To uch of the G r ea t P o is o n e r

and transm utation states. With this we now have a basic praxis to get into
the practices o f curse, destruction and fatal magic.
Som ething interesting to notice is the ratio num ber o f the three jou r­
neys to the Enthronement:
Journ ey o f the Flesh: 9 days
Journ ey o f B lood: 9 weeks, 9 x 7 = 63 days ( 6 + 3 = 9)
Journ ey o f the Bones: 9 x 28 = 252 days (2 + 5 + 2 = 9)

9 + 63 + 252 = 324.
3+2+4=9
The cycle is closed as the Black D ragon devours itself; the Alpha and the
O m ega m erge into one.
A word o f advice: i f we fail in one journey and not continue with the
process, we m ust repeat the journey in which we find ourselves. It is very
im portant to be honest with ourselves and not to try to take shortcuts in this
path; the anxiety paym ent when transiting through the realm o f death is
usually quite high—let us rem em ber O rpheus and Eurydice. Another factor
is that the tim e interval between journeys cannot exceed 63 days, roughly
two months. If we go over two m onths, it is advised to start over.

C h a n n e l in g

The practitioner is now an avatar of death, a dedicated necromancer. The

forces o f M ars and Saturn dwell therein and understand the notion o f cycles.
He is now a container where the alchem ical iron and lead o f the Sinister
Path and the D ark way constantly and incessantly converge. 'The m in d s eye
is now able to understand the flow o f m ortuary energies; it may easily per­
ceive the line between the world of the living and the dead. We now turn to
the process that involved causing death. A ccording to Buddhist necromantic
wisdom , the death process is based on the dissolution o f the elements. As
hum ans we consist o f the four elements o f nature. When we are dying, each
element leaves the physical body independently and gradually contributing
to the weakening o f the body. Once all the elements leave the physical body,
we enter the Underworld. From an ancient Tibetan m edical text:

" The consciousness o f the senses comes from the mind. The
flesh , bones, the organ o f smell an d odors create from the
Earth Element. The blood, the organ o f taste, flav o r and body
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 L j 6 s s Al L o d u r s s o n

flu id s emerge from the Water Element. H eat, light color, the
organ o f sight and form come from the Fire Element. The
breath, the organ o f touch an d physical sensations arise from
the Air Element. The cavities o f the body, the organ o f hearing
and sounds are form ed from the Space Element
Another interpretation o f this process is explained by Sogyal Rimpoche
in The Tibetan Book o f Living and Dying:
Earth
O ur body begins to lose all its strength. We are drained o f
any energy. WTe cannot get up, stay upright, or hold anything.
We can no longer support our head. We feel heavy and
uncomfortable in any position. O ur complexion fad es an d a
pallor sets in. Our cheeks sink, an d dark stains appear on our
teeth. It becomes harder to open and close our eyes .These are
signs that the earth element is withdrawing into the water
element.
Water
We begin to lose control o f our bodily Jluids. Our nose begins
to run, and we dribble. There can be a discharge from the
eyes, an d maybe we become incontinent. We cannot move our
tongue. O ur eyes start to feel dry in their sockets. O ur lips are
drawn and bloodless, an d our mouth and throat sticky and
clogged. The nostrils cave in, an d we become very thirsty. We
tremble an d twitch. The water element is dissolving into fire.

Fire
Our mouth an d nose dry up completely. All the warmth o f
our body begins to seep away, usually from thefeet an d hands
toward the heart. O ur breath is cold as it passes through our
mouth an d nose. No longer can we drink or digest anything.
We cannot remember the names o f our fam ily or friends, or
even recognize who they are. The fire element is dissolving
into Air

The A m b ro sia o f H ea rt T antra, c o m m e n te d an d tra n sla te d by th e D r. Yeshi D h o n d h e n a n d

Jh a m p a K e ls a n g , L ib ra ry o f T ib e ta n W o rk s an d A rc h iv e s. D h a r a m sa la . 1977.

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 T h e L a s t To u c h of the G r e a t P o is o n e r

A ir
It becomes harder an d h arder to breathe. The air seems to be
escaping through our throat. We begin to rasp an d pant. O ur
in breaths become short an d labored, an d our outbreaths
become longer*. O ur eyes roll upward, an d we are totally
immobile. Tire m ind becomes bewildered, unaware o f the
outside world. We begin to hallucinate an d have visions.
What is happening is that the a ir element is dissolving
into consciousness. The winds have all united in the “life
supporting w ind” in the heart.
In this way we get to the last breath an d begin ou r personal Helwegr or
K atabasis. For the N ecrom ancer it is very im portant to understand this p ro­
cess because when he ch ooses to focus a victim on his m in d ’s eye, he needs
to understand that the Last Touch o f the G reat Poisoner m ust re-create the
sam e conditions or characteristics; the solution is a form o f poisoning. To
this end, we investigate certain aspects o f nature that will serve as capacitors
o f M artial-Saturnine energy for this purpose. Each o f these aspects should
be added to rituals o f aggression , curse or dam nation to accelerate the pro­
cess o f dissolution o f the elem ents in the victim :

C h a n n e l in g t h e E a r t h

To accelerate the dissolution o f the Earth Element, we can use within our
operations bone powder obtained from three separate beings: powdered
bone o f a hum an, a bird and a black dog. The pow der should be prepared
and/or consecrated on a Saturday in the hour o f Saturn or at a tim e when
the D ark Sun is regent in Saturn. The powder is used to fill or cover dolls o f
sym pathetic m agic rituals. It can also be used to cover the edge o f sw ords,
daggers, axes or sp ears that are dedicated to m agic, and these will be used in
rituals o f aggression. The dust is the garm ent o f the dead body.

C h a n n e l in g t h e W a t e r

To accelerate the dissolution o f the Water Element, we should prepare herbal

incense with poison ous plants or plants with thorns, no m atter the fam ily
o f the sam e; it can be foliar, cauline or radicular. The elemental agents o f
the acacia, blackthorn, haw thorn, rose or cactu s are excellent in this work.
Dry these plants away from the light o f the sun even if it takes several weeks

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to accom plish this- In the day and hour o f the m oon, grin d and consecrate
the plants, m ix them with the thorns of the sam e, then store in a red bag or
container and under no circum stance allow sunlight or profane hand touch
again. B urning this incense on the coals calls the spirits o f aversion and
disease, spectral and vam piric entities that consum e and prey on the life
force o f the victim . The incense is associated with the d ig g in g o f the grave
o f the dead.

C h a n n e l in g t h e F ir e

To accelerate the dissolution o f the Fire Element, we must prepare the

anointing oil on the day and hour o f M ars develop an d /or consecrate an
oil based in M andrake, Nettle and D ragon’s Blood (Croton Lech Leri) and
put inside it two sm all stone , an am ethyst an d an obsidian. A lso put Runic
Sigils or destruction, su m m on in g seals o f the spirits o f disturban ce, insanity
and suffering. U se the oil to cover the v ictim s objects (pictures, figurines,
clothing, etc.) D urin g the ritual o f aggression, this creates a direct link with
the forces that infuse dem entia, insanity and paranoia.

C h a n n e l in g t h e A ir

To accelerate the dissolution o f the A ir Elem ent, we m ust prepare an A s­

ph yxiant Bottle in the day and hour o f M ercury, D edicate a dark bottle; it
can be green, red or black (if you want you can paint it), 'file bottle should
have a wide opening, enough for it to store all the links that have been used
to attack the victim , statuettes, sigils, clothes, rings, etc. The outside o f the
bottle should be covered with sigils and runes o f death and annihilation.
The bottle is used as we approach the end o f the ritual o f destruction; there
we conjure the breath o f the victim , we ask ou r Tutelary deity to capture
the breath o f our enem y in the bottle thereby capturing the essence o f his
life, then by our own power and will we decree the sam e so the conjunction
between G od and M age G u ardian d irects the m anifestation o f the energy
into this plane. Finally the bottle is closed with black candle wax and is then
buried or stored in places where death is pronounced, a site where a m urder
or a suicide has occurred or a cemetery.
We m ust rely on ou r own power and leave the spell in ou r oblivion, in
the depths of ou r m em ory and our being, so it can germ inate in ou r u n ­
conscious, ou r inner Underworld. Only then can the spell really becom e

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powerful. I f we keep expecting a result, it will not happen; this is identical to

the process with sigils.
To give closure to these issues, it is im portant to clarify the Enthrone­
ment and channeling are equally im portant. We m ust not believe that we
know or we dom inate all; the relationship with the forces o f death is som e­
thing that involves one or several lifetim es o f study and understanding. D o
not skip any o f these two foundations.

A b o u t D e a t h

A s I said before, m any m agicians or necrom ancers becom e frustrated when

their enemy is not dead as expected; however, in my experience with He-
leikin (N ordic Necrom ancy) and Radafeikin (N ordic C urses) I have learned
that there are different types o f death, and these are directly linked or co n ­
nected to the dissolution o f the elements explained by Tibetan Buddhist nec­
romancy. In som e cases the Underworld energies guided by ou r Tutelary
Deity only “encroach” or “m utilate” one o f the four elements of ou r victim ,
so ou r enemy experiences a kind o f “ zom bie” dead or alive state when he is
deprived o f a particu lar item. Be consistent with your m agic and exam ine in
depth what has happened to your enemy in a reasonable tim e after the ritual.
Carefully observe which o f the four form s o f death appeared, and observe
how the poison has expressed itself; this leaves im portant clues about the
root o f your psychic and m agical abilities:

Death by Air
The m agical assault victim loses all its allies and friends, his w ords tumble
against all truth and nobody trusts him , dark and d am agin g secrets com e to
light, people that loved him before now betray him , doors close to all social
and com m unication factors or the environm ent seriously collapses and de­
stroys his credibility in his personal universe. Spiritual Body dam age.

Death by Fire
The victim o f the attack has deep psychic internal changes; it aw akens a
pow erful sense o f guilt and bends his will. He becom es docile before us. He
who at one tim e was ou r enem y now seeks to be our ally—we have so p ro ­
foundly influenced in his being that we develop in him a need or urgency to
approach us. O ther sym ptom s o f death through fire involve m em ory loss or
the entry into a process o f internal or m ental confusion, the victim loses his
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life objectives and feels alienated in everything he does, he loses his self-con­
fidence and ends up leaving all his personal projects aside, and nothing gen­
erates pleasure or joy; the fire inside him has died. Mental Body dam age.

Death by Water
The victim goes into deep states o f depression or anxiety, loses track o f reali­
ty and m adness or dementia begin to move him, panic attacks, night terrors
and unconscious fears arise powerfully to take control o f his mind. If the
victim enters altered states of consciousness, it results in out o f control states
full o f anxiety and paranoia. In many ways this can be one o f the worst
deaths for a m agician or practitioner o f the art as G nosis states are vital
for his development. When this happens, the rival m agician experiences his
trances as heavy and ineffective, entities or spirits that used to help him are
now leaving or attacking him since he has lost the power to dom inate them.
Astral Body damage.

Death by Earth
The death that is always desired and sought by all m agicians or necrom an­
cers. In this type o f operation there are accidents, an already acquired illness

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severely w orsens or develops in short periods o f tim e, and all physical paths
close to the victim except one, that leading to the tomb. This is the com plete
annihilation o f the enemy.
You will notice that when death com es naturally the dissolution o f the
elements occurs in a specific order, from the m ost gross to the m ost subtle,
from the earth to the air. However, when death occurs with a spiritual or
m agical influence the process becom es against nature; it dissolves from the
most subtle to the m ost gro ss, from air to Earth. U nderstanding one model
that can connect and direct the forces o f death leads us to reflect on what
poison we seek to prepare; thereby we becom e more accurate in the practice
of the Black Art.
M ors su p e r V ita!
D eath over Life!

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70-
 T h e C row n O f B la c k Th o r n s:
E x p l o r a t i o n s A n d I n v o c a t io n s
O f O u r H o ly M o t h e r D e a t h
Edgar Kerval

he p u r p o s e o f th is essay is to show in a clear and deep m ann er the

T foundations an d principles o f the w orship o f La San tisim a M uerte,

from an anthropological level, psychological and ritualistic. A lso I
have the pleasure to include three ritu als from my experiences w orking with
La San tisim a M uerte m onths ago. We reveal the sacred m ysteries o f La San-
tisim a M uerte, its rituals, traditions, and how it has been entering w ithin the
contem porary occult m ovem ent, as a strong current, which reaches im agin ­
able lim its.
We can feel the inner need to get into their m ost hidden m ysteries, p ro ­
found and sacred fruit thereof, after entering eternal gn osis that allow s us to
move into their roots and becom e one with them, penetrating the dark g n o ­
sis an d taking the path o f black alchem y to enlighten us with his black m ag ­
ic essence. The history o f Holy D eath or La Santisim a M uerte com es from
pre-H ispanic tim es, with the worship o f go d s and deities o f Aztec culture.
Here in South A m erica a s part o f C entral A m erica, we found a great d ev o ­
tion-related death cult m other wing. M ostly in deeper regions o f Paraguay
and A rgentina, as well as in som e regions o f Brazil an d C olom bia.
Som e regions began to venerate La San tisim a M uerte, w orshiping bones
or skeletons o f ancestors to whom they prayed for protection again st evil
spirits. In p arts o f Brazil people w orshiped the San tisim a M uerte as a purely
astral deity as an Exu in Q u im b an d a tradition. This is the case o f a deity

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known as Exu Tata Caveira show ing a close connection with the cult o f La
Santisim a M uerte; we can also see a great devotion in M exico especially in
Central Am erica with an annual celebration o f Holy D eath and the D om in ­
ican Republic and H aiti.
Although his practice has expanded to other regions» not only in C en­
tral A m erica but in South Am erica, such as C olom bia, Venezuela, Ecuador,
it has done so in a very lim ited way. Here, Pre-Hispanic an im ism connected
with saints o f Catholicism to the old aspect which was operated under a style
o f Cuban Santeria, which com bines anim ism with Catholicism to African
tradition. In this tradition som e offerings were given to the lord o f the death,
the black cross lord, or holy m other death in different traditions.
M ictlantecuhtly and M ictecacihuatl were very im portant Aztec deities
who were raised by all those who wished to connect themselves with the
energy called death, and to possess the power o f death. One of the most
m ajor temples o f worship to these god s o f death were found in M exico City
o f Tenochititlan. M ictlantecuhtli is the god o f death, lord o f M ictlan, the
quiet, dark realm o f the dead. This Pre-H ispanic divinity is com pared to
Mayan god Duch Ah. This one was represented as a decaying body with a
cadaverous head adorned with bells and necklaces o f bones and feathers.
M ictlantecuhtli w as represented as a skeleton, or at least his head was a skull.
The Aztecs, in order to placate M ictlantecuhtli, sent him lavish gifts, am ong
which there were plenty o f men’s flayed skins to cover their bare bones.
The shape o f death represents a very im portant element in our con ­
sciousness due its strong archetypical nature latent in us at every moment
in our lives. This can be regarded in a kind o f apprehension by certain indi­
vidual, o f acausal energies. Creates a psychic process which transcends into
astral realm s, creative artistic m anifestations. Such fundam ental principles
relating death as an archetype lives in our psyche all the time and cam e out
though som e of ou r actions as thoughts, visions or expressive m anifesta­
tions. D escribing it, we can see for exam ple the black robe used by the arche­
type o f death, representing the way in which we hide ou r true appearance,
behind another one. So as the black robe covering the skeleton which rep­
resents death itself, in the sam e way we hide ourselves in our flesh, out m ost
in deep hum an nature which we m asked in so m any ways. Under this point
we must observe how d eath ’s archetype is a living aspect in each one o f us.
At the sam e point the scythe, the instrum ent o f farm ing, represents the
cycle o f physical life which ends and the beginning o f another existence, but

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this time not in the physical plane. The scythe shows us the equilibrium and
balance which represents death as it is.
Also, the black color from holy death helps us to balance in the physical
plane in all spheres we need to work with, and also gives us protection and
helps in astral planes. The purple one helps us to enforce the psychic a s­
pects, to move us in a secure way inside the spiritual worlds. It is known that
red and black are colors related to darkness and the ritual works within the
realm s o f the dead, necromancy.

D e a t h R o s a r y

By own experience, one o f the most potent and strong m agickal artifacts to
connect with the essence or energy o f La Santisim a M uerte is the m agickal
use o f death rosary. Each bean connected us with a powerful and m agickal
aspect o f La Santisim a Muerte. This magickal artifact must be built from
wood, seeds or even bones or clay, ju st to name some o f material properly
used to build this. The principal point is that the sorcerer m akes him /herself
the construction o f this, and to proceed to its consecration through each one
o f the rituals presented here.
The principal idea with the magickal rosary's construction is to include
59 beans, 50 black beans and 9 red beans. 5+9 =14; 1+4=5. Through this sim ­
ple numerical operation we observe the dissolution o f all beans (14; 1 [the
magus] + 4 [ Portals o f death]).The Physical Death, The Astral Death, The
Spiritual Death, 'ГЬе Psychic Death. Into 5 the quintessence o f man entering
the realms o f death, knowing that death is the gate o f life, and this the most
strong light, must be found in the most deep abyss which inhabits in the
black shadow, in the pale face and spectral nature o f our holy mother death.
So for construction o f the m agickal rosary, we must include 5 beans each
day and work with ritual m antras and devotional prayers in front a statue
o f La Santisma Muerte with a black candle burning while we are including
beans. As we mentioned before, red and black are colors o f the beans, and
such colors are related to darkness and the realm s of the dead and necro­
mantic works and the powerful connections into its hidden mysteries and
its nature which is dark, wild and raw. Through m agickal rosary we create a
strong union to the psychic-spiritual level between sorcerer and the essence
o f the black flame o f La Santisim a Muerte.
The works with the magickal rosary can change according to many a s­
pects from needs o f the sorcerer. By our own experience we could work to
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 E d g a r Ker v a l

curse or to destroy an enemy; for health works to increase vigorous and proper
physical state, to you or someone you want to help; to spiritual works to gain
access mysterious hidden knowledge; astral works to opening inner portals
for connecting with the realm s o f dead; and divination works to gain access to
worlds o f perception and intuition to use in divination and connect this works
within runes, tarot cards, crystals and other devices for divination.

C o n s e c r a t io n R it u a l

For consecration o f our m agickal rosary we m ust first have our proper ritual
cham ber or private place dedicated to La Santisim a Muerte, a small room or
ro o m s corner with walls painted in black, a purple roof, and a proper wood
table at side where the sun shows its last rays (East). This represents the fall
o f light and rebirth o f darkness and kingdom o f the night.
So connecting with the force o f La Santisim a is a state in which the sor­
cerer annihilates completely his/her own human personality and assum es
an extreme state o f dark psychic opening. He becom es completely open and
receptive to the influx o f energy and essence o f La Santisim a Muerte, which
is an intense, intuitive and Tran-sensorial state o f self-perfection and reali­
zation o f an own reality in its fundam ental and last aspect. To get connect­
ed with the essence o f La Santisim a, we are doing a conjunction o f strong
elements from our psyche which is the vacuity o f senses and dissolution o f
m atter in the hands o f death itself. It is a rebirth with all its psychological,
spiritual, and mental transform ations beyond duality, beyond apparent re­
ality o f how we perceive things in this existential plane.
Implements:
• A Black Candle
• Death Rosary
• Black Box

The principal point with this elaborated ritual is to consecrate the

m agickal rosary, to influx this with the enigm atic essence o f La Santisim a
M uerte in order to create a m agickal artifact for the connection with her
and dead spirits in a determ inate m agickal work. Before beginning with this
ritual, it is o f high im portance to meditate for 7 days at sunset on a sigil o f
La Santisim a Muerte which m ust be created especially for you and charged
with your own blood.

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 T he C row n O f B la c k T h o r n s

To consecrate your death rosary, you m ust first get obsessed as most
as you can o f such essence, looking im ages o f m other death, painting im ­
ages, listening m usic, so everything which you can feel will be appropriate
to cause a exhaustion o f senses in all levels; the idea is to penetrate your
unconscious realm s with such atavist presence o f La Santisim a M uerte in all
its m ysterious splendor for you to carve and explore all facets surroundin g
its ancestral shape, with adorations, prayers, m antras, visuals, m usic, etc...
After m editating for 7 days at sunset, you m ust consecrate your death
rosary for 7 days, doing 3 prayers each night at different hours. So le ts begin
with the ritual with the following steps. At first ju st keep your death rosary
well hidden in a black box together with 5 sm all bones—the sm all bones
represent here the essence o f La Santisim a in the physical plane. We use 5
bones because this represents the 4 elements in nature and the sorcerer as a
fifth element. Burn the black candle, and before opening the black box to get
the death rosary you must do the follow prayer to La Santisim a in order get
the necessary powerful energy to consecrate it.

Prayer:
I invoke you goddess from death an d darkness
Spectral queen from the great void,
Give me the powers to consecrate this death rosary in your name
Unveiled one, show m e you r secret eye oh crowned queen o f darkness
Oh you, veiled one, give strong, give power; give me death
Through this black fla m e an d bones m anifest in this artifact
(death rosary)
Incarnate your essence through this ineffable flam e
Ave muerte, Ave Santisim a, Ave muerte
Com eуcome come!!!

Remember, you m ust do this invocation for 7 nights at sunset. Then

open the black box and hold your death rosary in your left hand and let s
pass it around the black c a n d le s flam e and repeat slowly:

Salve M other Death

Ave Santisim a M uerte
H ail crowned queen o f darkness
Through this black fla m e , give your powers

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 T h e C row n O f Bl a c k T h o r n s

To this m agickal tool!!! Poison this with

Your infinite wisdom queen o f the void
Salve M other Death
Ave Santisim a Muerte
Hail crowned queen o f darkness

Visualize how a black spectral light com es from the fetish or statue o f La
Santisim a to the black candle and from there though the death rosary. Then,
let’s put it around your neck and repeat:

Salve Mother Death

Ave Santisim a Muerte
Hail crowned queen o f darkness

And then, let’s remove it from your neck, put it on the neck o f the La
Santisim a Muerte fetish/statue and give thanks to her for all. For 7 days do
the ritual exactly as it’s explained here. After such period of time, keep the
death rosary inside the black box at the altar and don't open it after a period
of 7 days. After this tim e, you can use it when needed and can leave it around
the neck o f the La Santim im a M uerte statue/fetish.

R it u a l t o g e t a c c e s s t o d e a d k n o w l e d g e

This powerful ritual is used to get hidden knowledge and secret sym bols,
sigils o f the realm o f the dead to use on diverse practices when invoking La
Santisim a Muerte.

Implements:
• La Santisim a M uerte {fetish, statue)
• D eath rosary,
• Q uartz crystal.

W ith the com ing sunset (6.00 p.m.), you shall enter to the cemetery
fields and prepare a sm all altar at the east side. Including the statue or fe­
tish of La Santism im a Muerte. The m agickal rosary m ust be put around the
statue, and the crystal quartz m ust be put on the feet o f statue or fetish too.
Meditate so deeply for about 20 minutes, having a complete and total control
about your thoughts and visualizing a black and red light descending into

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 E d g a r K er v a l

the statue or fetish one. When you think you are ready, let s vibrate the fol­
lowing m antra in front o f the statue as m any tim es as you think is good for
you. The idea is to be in prim ordial gnosis with the realm s o f death, letting
the queen o f darkness and guardian o f cemetery cover you with its flame
o f knowledge and teach you the gardens o f bones and the tree o f darkness
though its presence.

M antra:
VENID -REM U TE- M U ERTE -NEV1D

After this, keep on repeating the m antra and get the crystal quartz and
hold on in your left hand» so through this sym bolism you are now the left
hand o f the reaper; you are the key to its most hidden mysteries o f death
and rebirth, you are now a vulture eating the carrion of dead shells, and
you’re now a portal to influx o f such energies. Put the crystal on the altar
again and let’s get the m agickal rosary and chant in a slow way the following
invocation:

H ail Mother death, hail mother of darkness

Bring me to your kingdom o f deads,
In the dark bark o f emptiness, hail mother death
Bring me to the seas o f hidden knowledge
Show me the path o f your inner worlds oh Queen
O f the night, death bringer.
Drunk me with your presence oh Mother Death
To me, to me, come to me oh mother death
Reveal to me the pathways o f hidden light
Pierced in me, the claws o f death with your poisonous lips!!
H ail mother death, I chant fo r you in this darken night!!

After a moment just visualize the im age o f La Santisim a Muerte burning

in a radiant dark purple light. Then start to visualize how such radiant light
enters your body via anja chakra until you feel you have absorbed enough
energy from La Santisim a. Once the vision is finished, you can relax for
som e m inutes, controlling your breaths, and repeat 2 times!
Ave mother o f darkness and death> the work is complete!!

Pick up your ritual elements and leave the cemetery fields.

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 Тин C r o w n O f B la c k T h o r n s

M e d it a t io n

You can im agine walking in the desert at night, and a tall shape o f death
dressed in black com ing to you with a blood-red book in hand. As the shape
is nears, you can feel the necessity to get connected with its essence and
learn the mysteries o f dead realms. You took the book and fully concentrat­
ed in each one o f the pages, full o f invocations and rituals.
With this meditative trip the sorcerer moves so deeply into the arche­
typal world o f hidden consciousness, letting you to know more about the
strong archetypical shape o f death, going deep in the m eanings o f his black
clothes, its deep black hole eyes, its pale skeletal body and dark nature.

R it u a l o f d e s t r u c t i o n

The following ritual is used for curse or to destroy an enemy causing him /
her diseases, mental illness or even suffering and death.
Implements:
• 1 Black Candle
• Sigil O f Destruction
• Incense O f Saturn
• La Santisim a Muerte fetish or statue

Prepare carefully the ritual chamber or place in/outside for the ritual.
For experience, I just prefer to work outside, near a river, a forest or, much
better, in a cemetery at sunset. Let’s start with the ritual adapting the altar
with your fetish or statue o f La Santisim a Muerte, with the death rosary
around its body. The Saturn Incense must be burnt and to create a proper at­
mosphere to the ritual itself, so I mean you should include some ritual music.
Burn the black candle from the fetish or statue, and whispering, you cry:
11Oh holy mother o f the d ead ”

And while you are burning the candle, you focus and concentrate on the
flame, visualizing a black flame rising around a purple fog em anating into
the statue or fetish. Following this, you get the death rosary from the statue
or fetish and start chanting or whispering
"AveM adre Muerte, Ave Queen O f Darkness, Ave Holy Death ”

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 E d g a r K erval

Try to chant this in a strong intonation, while you visualize the black
flam e burning and looking how the scythe starts shining. After som e m in ­
utes you put the death rosary around your neck and follow th is invocation:

Oh Queen O f the D eath, M other O f D arkness

I invoke y ou r most baneful an d malefic aspects
In order to help me to destroy my enemies
Assist me with your lethal poison, to cause suffering &
pestilence to my enemies
D rain its energies oh queen o f darkness, oh mother o f death

W hile doing the invocation, draw a sigil o f your own choice on a piece
o f paper and repeat 7 times:

A ssist me mother o f death, Queen o f darkness it let be done

Salve mother o f death, Salve queen o f the dead

Let’s burn the sigil in the black candle, and the ritual is finished!

~80*
81
 T h e T r iu m p h O f D e a t h
Claudio Carvalho

T
h is is a good opportu n ity for there to be som e interesting clari­
fication on the Trium ph so controversial in the Book o f Thoth,
called Death.
M any things are said about the D eath in regard to its m ystical, su per­
stitious, and alchem ical contexts, am o n g other considerations. G enerally
sp eak in g about D eath, there is som eth in g both intriguing and scary because
you d o not know w hat’s on the ‘other side* or ‘beyond’ o f life.
Since old tim es, much has been studied and talked about this delicate
subject; however, both conceptions such as vu lgar and scatological on D eath
m ingled in an uncontrolled m anner and this jun ction there were several
m iscon ceptions and superstitions that astray concepts more internal than
she really m ean s, and we have left on your actual reading is included in
the sy m bolism and iconography o f various prints and paintings done in
the M iddle A ges through the freshness R enaissance that rescued the oldest
m yths o f G reece and by converging detailed Baroque allegory where it was
developed for new gloom y an d hidden traces from the H erm etic R om antic
Tradition.
Even in the m idst o f such transform ation s, D eath alw ays held she D ance,
ad aptin g to cultural custom s that always m arch to d isp o se o f her Triumph.
A lth ough this them e is much older than the period that this essay will
cover, rem ain s testify that the richest tim e con cern in g Death is the M iddle
A ges and the R enaissance, which therefore represent both an equivocal u n ­
d erstan d in g and a natural attraction that hugged the m in d s o f these two
periods.

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 C l a u d io C a r v a l h o

H u m an ists from years Trecento, such as Francois R abelais (t 1553),

Francesco Petrarca (t 1374), and G iovanni Boccaccio (t 1375) to nam e a
few, all have relied much on the w ritings o f Florentine poet D ante Alighieri
(t 1321), m ainly in the wonderful work called The Divine Comedy, which
describes the rise o f a wanderer to the top o f his initiation through three
aspects o f Death. These h um an ists had a strong influence on literature and
painting at that time; for exam ple, Petrarch, a great scholar, circa 1356 wrote
a beautiful poem called II Trionphi, depicting allegories through trium phal
processions in their secular six letters: Trum ps, Love (the Lovers), Chastity
(Tem perance), Death, Fam e (the Chariot), T im e (the Herm it) and Eternity
(the World). There is even a theory about the etym ology o f the word Trum p
given to the M ajor A rcana, attributed the title o f the poem by Petrarch, and
others as Jacopo A ntonio M arcello, a spokesm an o f the fifteenth century.
Som e research o f the history o f the Tarot is based on the creation o f the
thirteenth card through a distinct d ram a from the liturgical cycle that is
naturally called several nam es, The D ance o f Death, The D ance M acabre, etc.
This dram a w as probably encouraged by the Black D eath that devastated
Europe between 1347 an d 1364 C .E . The occurrence o f this fact was due to
the enorm ous difficulty that existed as hygiene am ong E uropeans, unlike
the East whose cleanliness was highly appreciated, proliferated the epidem ic
throughout m ost o f the West.
The Dance o f Death draw s m a n s attention to more spiritual m atters, not
frivolousness that em braced m any due to dissatisfaction existing in those
tim es leading m any people to debauchery in order to counter a dogm atic
and dictator concept and that m eans enforcing the religious population. Tire
m ortuary sym bolism that connotes Death exists for all classes or indepen­
dent hierarchies, and that nothing leads to another world except your m oral
and righteous actions, and this was the pictorial view represented in the Ci-
теН ёге des Saints-Innocents in Paris, which qualifies all social classes, such
as the Pope, the Emperor, the Beggar, the Fool, the Hermit and others so that
nothing escapes Death.

V a r ia t io n s F r o m T h e D a n c e O f D e a t h

M any versions from the D ance o f Death were painted by num erous writers
in the N etherlands, G erm any and Belgium . Her fascination persists to m od ­
ern tim es, and tends to continue.

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 T h e T r iu m p h O f D e a t h

In his D ivine Comedy, D ante in ‘Purgatory* faces Death when he pleads

guilty, and so M athilde dips him into Lethes in order to purify him. This
confession was necessary so that Dante could continue on his path that
would lead him to Paradise by Beatrice, his Essence. At this tim e he was
prepared for his first death and right now it is recited:

"M athilde, opening her arm s suddenly

She girded my forehead an d sudden sank me;
It was o f th is water that I to draw fro m conveniently

A nalogous to Dante, another great poet, w riter and English painter,

W illiam Blake (t 1827) wrote “The Couch o f D eath” published on Poetry
and Prose o f W illiam Blake. It is a story with strong gothic influence. A m id
a dense forest with nocturnal an im als lurking, a fam ily gathered around the
bed o f a diseased, about to leave his weakened body when he speaks about
his departure and D eath as well:

“7 walk in regions o f Death, Where no tree is;

Without a lantern to direct my steps,
Without a sta ff to support m e”

Nevertheless, in the end, his D ance o f Death was com forted by angels
enabling a young person a pleasant departure for eternity. A nother facet of
her eternal dance is published in Flowers o f Evil, written by the poet and
writer Charles-Pierre Baudeleire (t 1867), that devoted his passion towards
a m ulatto w om an nam ed Jeanne D uval in 1857. In his twenty-ninth poem
entitled “The D ancing Serpent” he glim pses the seductive power o f Death
as a serpent that sows the stars in your soul. At one o f the stan zas is written:

“To see you walk in cadences

F air unconstrained, brings to mind,
A serpent dancing at the prodding o f a stick.9*

As you can see, the content o f the verses from the nineteenth century a l­
ready has a form at o f “m ovem ent” for Death, not a s a trium phal procession.

T h ere a r e so m e b o o k s w h o se q u o te s a re o n th e o r ig in a l in P o r tu g u e se , so in th e se v e r sio n s
th e a u th o r h im s e lf d e c id e d to tr a n sla te th e m to E n g lis h - s p e a k in g re a d e rs.

-85-
 C l a u d io C a r v a lh o

but as seduction o f internal m etam orphosis succum bing to any desire for
the Sacred or longing for G od, w ishing for his intoxicating Beloved who
shines in front of the Inner Temple, the prim ordial waters o f the Self.
Somewhat occurs here a need to return to the hermetic principle that,
unlike the Tarot cards o f the past, now shows a more com plex sym bology
and directed to Q abalistical and alchem ical contexts so loveable to romantic
H erm etists. Julius in his book The Hermetic Tradition develops the rescue
alchem ical well when he says:

“Now the whole secret o f the first phase o f the hermetic Opus
consists in this:
In working in such a way that the consciousness is not
reduced and then suspended
At the threshold o f sleep, but instead can accompany this
process through all its
Phases, in complete awareness, up to a condition
equivalent to death. The “disso­
lution” is then m ade into a living, intense, indelible
experience, and this is the
Alchemical “death,” the “ blacker than black,” the entrance
into the “tomb o f Osiris
The knowledge o f the dark land, the realm o f Saturn, of
which the texts sp e a k ”

After Evola tells us above, the Portuguese bard called Fernando Pessoa
does an am azing O de in O bra Poetica interpreting the single moment o f
Death as a solem n prostration before the Silence, so he reiterates:

“When / die,
When Vm gone, ignobly, like everyone else,
For that way down whose idea you cannot face the front,
Through that door to which, if we could loom up, could not
loom up,
For that harbor which the captain s ship does not know.
Be fo r this time decent o f boredom that I had,
By this mystical and spiritual time and most ancient,

-8 6 -
 T h e T r iu m p h O f D ea t h

By this time th at perh aps there is much m ore tim e than

it seem s
Plato dream ing saw the m ind o f G od
Body sculpting an d existence sharply p lau sib le
Within his thought extern alized a s a fie ld "2*

A s the attentive reader m ay notice, the continued D ance o f D eath slip s

all the tim e in ou r lives, consciously or not, and sh e’s always on e step away
from us, to k iss and em brace, in a m ad frenzy o f delight.
A nother who felt the cold breath o f sweet D eath w as O scar W ilde3.
A poet, playw right and writer, he edited a w onderful collection o f p o em s
called R osa M ystica and her Requiescat C om plete W orks. In it he states:

“She that was you n g an d fair,

Fallen to dust,
Lily-like, white a s snow,
She hardly knew
She w as a woman, so
Sweetly she grew.
Peace, Peace, she cannot hear
Lyre or sonnet,
A ll my life's buried here
H eap earth upon i t ”

A leister Crow ley (+ 1947), in h is exceptional collection so-called C o l­

lected W orks o f A leister Crowley, in 1907, writes in “G argoyles - Im ages o f
D eath ” a litany for K ali w hich is one o f the verses recited as follows:

D eath fro m the universal force,

M ean s to the forceless universe, B irth .
I accept the fu r io u s course,
Invoke the alt-em bracing curse,
Blessing a n d peace beyond m ay lie,
When I annihilate the “1." (Kali)

2 T r a n s la t io n b y th e a u t h o r f r o n ^ P o r t u g u e s e v e rsio n .
O s c a r F in g a l O T l a h e r t i e W ilts W ild e w a s b o r n in D u b lin o n 16 O c t o b e r 1854 a n d d ie d in
P a r is o n N o v e m b e r 3 0 , 1900

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 C l a u d io C a r v a l h o

V arious religious traditions revere the myth and their an cestral gods,
and this goes beyond when they invoke the Celtic tradition with their four
hundred g o d s and god d esses or m ore that overflow in a m ixture o f tragedy
and heroism,, and one o f its biggest heirs arises from the A rthurian legends,
also known a s M erlin or M yrddin; he offers a treat in his D ance o f Death
in the poem “ Son g o f T aliesin” published in The 21 Lessons o f M erlin and
sin gin g thus:

ul have been a fierce Bull an d a yellow buck.

I have been a boat upon the se a.
/ have been the fo am o f water.
/ have been a drop in the air;
I have journeyed high a s an e a g le ”

The D ance o f Death refutes fleeting relationships in favor o f life to what

is deepest in us, touching us an d aw akening us to a single direction and no
deviations tow ards total aw areness o f who we really are. She m akes us real­
ize the vulgarization that em braces the way o f life o f the hum an being, and
this them e, although secular, it is extrem ely present in m any senses. This
conception o f tim e, behold iconographic variation s arise in the Tarot cards
as a whole, and in the case o f D eath these variation s so u n d provocative and
ch allenging to men in order to not underestim ate her T rium phal power.

Ic o n o g r a p h y O f D e a t h

The iconographic variation from Death Tarot card s su ggests a certain way,
cultural an d religious asp ects in force at a p articu lar tim e o f the m ak in g o f
im ages to be recorded in w oodcut or etching determ in in g the shapes and
lines that played the tarotiers4 in their respective record o f centuries T ar­
ot cards.
Just as there w as t he developm ent o f the point o f view o f Death, its ico­
nography has generated interesting pain tin gs from the tim e o f D uccio di
B uoninsegna, founder o f the School o f Siena and G iotto, as well as other au­
th o rslik e Petrarch, Boccaccio, G hiberti and Leonardo V asari, an d preserved
the anonym ity until the pain tin gs from Pam ela C o lm an Sm ith and Lady
Frieda H arris in the twentieth century.

4 T h ey a r e a k in d o f g o ld s m it h s w h o e la b o r a t e d the ta r o t c a r d s .

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-89-
 C l a u d io C a r v a l h o

The older Tarot cards accounted Death naked, only the skeleton with
her sickle, som etim es on foot or horseback. Later, som e packs placed in a
hood or robe, in other arm or as Waite's Tarot. He said in his The Pictorial
Key to the Tarot there w as need for a correction on this card:

“The veil or m ask o f life perpetuated in change, transform ation

And passage fro m lower to higher, at this is more fitly
Represented in the rectified Tarot by one o f the apocalyptic
Visions than by the crude notion o f the reaping skeleton'

Liz Greene an d Juliet Sharm an-Burke in The M ythic Tarot use their
card s based on the Greek model for hieratic im ages, if they chose to Death
the god H ades, the Lord o f the Underw orld or subconscious. In her picto-
graph D eath uses a helm et covering her face along with a black robe cover­
ing her entire body. Perhaps she is indicating the silence that exists behind
each inner transform ation.
A ccording to Stuart K aplan in Tarot C lassic, there is an interesting sy m ­
bolism for the skeleton in which he says:

“The energy o f the skeleton acts as a destructive force

That serves to break the chains that prevent
And obstruct the changes. F ear o f change often obscures
The prom ise o f a new direction an d opportunities
That aw ait the person be able to change the direction o f your
life” 5.

Papus in The Tarot o f the B ohem ians from another perspective com ple­
m ents what said K aplan with his statement:

“Tlie Works o f the head (conception) become im m ortal

A s soon as they are realized (heads an d feet).y>

There is an alchem ical process that runs subtly D eath T ru m p that is part
o f the continuous developm ent o f all things that exist in the universe, from
the sm allest particle o f m atter to the widest that may exist, a power that con ­
fuses m any scholars, researchers an d H erm etists, which is su m m arized in

5 T r a n sla tio n b y the a u th o r fro m P o r tu g u e s e v ersio n .

- 90-
 T h e T r iu m p h O f D e a t h

Transm utatio, som ething far beyond that inherent in the transform ation o f
its rich image. Som e call Transm utatio V irium or Transm utation Forces as
would say M ouni Sadhu in his work called The Tarot. The m yriad form s are
but transitory, since man has the power both to m ask them as to transm ute
them and so can becom e an inexhaustible source o f em otional and psychic
being overwhelmed by his personality o r distill it and transform ing your
personal valours, expanding your consciousness to attain a state o f em pty
and becom e O ne in It-self, i.e. UNO.
Crowley in The Book o f Thoth identified this Transm utatio with the
glyph o f the Eagle, which is more representative of sublim ated aspect o f
Scorpio, the sign that typifies Death. He explains:

"The highest aspect o f the card is the Eagle„

This represents exaltation above solid m a tte r”

He continues:

"The card itself represents the dance o f death;

The figure is a skeleton bearing a scythe,
A nd both the skeleton an d scythe are
Im portantly Saturnian symbols

Saturn represents the T im e (Tempus), but in another respect extols the

interval between one cycle and another, a kind o f contraction tim e, and it
resides when the polarities are neutralized in an exact moment like eternity,
and this indicates a characteristic worldview from Zen schools.
O sw ald W irth possibly realized som ething close it when he drafted the
Thirteenth T ru m p o f his deck. He relied on the cards o f the Tarot du M ar­
seille, m ainly in the pictograph deck produced by Nicholas Conver; how­
ever, he joined the im age o f som e letters to the tarotic teachings o f Eliphas
Levi Zahed (+ 1875). O ne o f the greatest expressions o f Levi in your deck is
seen in both T rum ps VII (the Chariot) and X V (the Devil), the latter typi­
fying the hieratic figure o f Baphomet shown in D ogm a and Ritual o f High
M agic. However, the thirteenth Trum p, Death has a sm iling face indicat­
ing an ecstasy in decapitating the w eaknesses o f men in order to transform
them properly into the next phase o f their initiation, which will rectify it as

-9 1 -
 C l a u d io C a r v a l h o

d rin k in g som e o f the Elixir o f Life, but can exist life after death? Behold the
confusion o f many.
W irth with his Death T rum p, m ost likely relied on pictographic style in
Tarocco Piem ontese, prepared som e years before the m akin g o f his deck as
it is explained in I Tarocchi. Storia Arte M agia.
M any o f the rom antic tim e decks were idealized from subtle indications
o f previous decks though there is a clear difference between them. M any
tarologists should know there is not necessarily a division o f the path tak­
en by both decks, from m edieval to seventeenth-century after those fruit­
ful rom anticism o f A ntoine C ou rt Gebelin (t 1784), obviously that certain
sym bols were recovered and brought the surface while others were rectified;
however, D eath is m ore complete and ballet dancing trium phantly in her
w onderfully harm onious rhythm was painted by Lady Frieda H arris in the
Thoth Tarot. And it is w ith her that we com plete th is short essay on O ne that
is m ost feared and m ost beloved o f all hum an fears, The Divine Death.

"Death brings me a slight feeling o f freshness,

Alow me her passion an d longing,
For our souls is One on One,
And our hearts are destroyed,
By dread that elevates me to a new landscape,
The strength o f her Love fo r me,
Passed on into single kiss,
M yselffо rever ”

B ib l io g r a p h y

A lighieri, Dante: D ivina C om edia. Traduc<;ao Brasileira de Jos£ Pedro

X avier Pinhei.ro: 2<1edi(;ao. C uidadosam en te revista, accrescida
com setenta e cinco estam p as de GUSTAVO D U R E, enriquecida
com um autographo do Traductor e acom pan h ada de um com pleto
R1M ARIO organisado pelo filho do Traductor X avier Pinheiro
(J.A.), 1 Volume. Editor Jacintho Ribeiro dos Santos. 1918: Rio de
Janeiro.6

6 F ro m m y a u th o rsh ip .

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 T h e T r iu m p h O f D e a t h

Baudelaire, Charles-Pierre: A s Flores do Mai. Circulo do Livro S.A.: 1981.

Sao Paulo.

Blake, W illian: Poetry and Prose o f W illian Blake. The Centenary Edition
o f Blake s Poetry and Prose. Edited by Geoffrey Keynes. Complete
i n one volume. The Nonesuch Library. 1956: London.

Burke-Sharm an, Juliet e Liz Greene: О Taro Mitoldgico, uma nova

abordagem para a leitura do Taro. Edi<;6es Siciliano: 1990.
Sao Paulo.

Chevalier, Jean e Alain Gheerbrant: Diccionario de los Simbolos. Editorial

Herder S.A.: sd. Barcelona.

Crowley, Aleister: Collected Works o f Aleister Crowley. With portraits.

Volume III. Foyers Society for the Propagation o f Religious Truth.
[1907]. rpt. by Yogi Publication Society: sd. Illinois.

The Book o f Thoth (Egyptian Tarot) by M aster Therion. Samuel Weiser,

Inc.: 1969, rpt. 1996: Maine. Tam bem traduzido em portugu£s
с о т о (О Livro de 'Ihoth), Editors M adras Ltda e Aniibis Editores
Ltda: 2000. Sao Paulo. The Crowley Tarot, the handbook to the
cards by Aleister Crowley and Frieda Harris. Arranged and
Foreword by Akron and Hajo Banzhaf. U .S.G am es Systems, Inc.:
1995. Stam ford. CT.

Thoth Tarot Deck: Designed by Aleister Crowley and artist executant,

Frieda H arris. D istributed by Samuel Weiser, 734 Broadway, N.Y.
10003, Printed in U.S.A. [1969].

Thoth Tarot Deck: D esigned by Aleister Crowley and painted by Lady

Frieda H arris. Booklet o f Instructions [Two essays by Lady Frieda
H arris & foreword by S.R. Kaplan]. Com plete 78-Card Crowley
Tarot Deck in stunning new’ edition based upon the original
pintings. C ards printed in Belgium. Booklet and box printed
in U.S.A. Published and distributed by U.S. G am es, Inc: 1978.
New York

Thoth Tarot Deck: In sm all card size. Booklet o f Instructions [Includes

essays by Lady Frieda H arris and foreword by Stuart R. Kaplan].
Com plete 80-Card Crowley Tarot Deck Includes Three Renditions

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 C l a u d io C a r v a l h o

o f The M agu s/M agician C ard s. Published and distributed by

U.S. G am es System s, Inc, Stam ford and A GM iiller & CIE,
Sw itzerland: 1986.

Ediciones del Prado: H istoria G eral da A rte. A rquitetura, E scultura,

Pintura e A rtes D ecorativas. D icionario Biografico de A rtistas 1
(A-К). Fernado C h in aglia D istribuidora S.A.: 1996. Rio de Janeiro.

Evola, Julius: A T radigao H erm etica. N os seus Sfm bolos, na sua D outrina, e
na sua A rte Regia. Edi<;6es 70: 1979. Lisboa.

H uson, Paul: M ystical O rigins o f the Tarot. From Ancient R oots to M odern
U sage. With ilustrations by the author. D estiny Books: 2004.
Vermont.

Kaplan, Stu art R.: Taro C lassico. C artas vin das do p assad o revelam о
futuro. Um gu ia definitivo e profissionalm ente ilu strado do Taro.
Editora Pensam ento Ltda: 1983. Sao Paulo.

Levi, Eliphas: D ogm a e Ritual da A lta m agia. Editora Pensam ento S.A.:
1974. Sao Paulo

M onroe, D ouglas: The 21 Lesson s o f M erlin. A Study in D ru id M agic &

Lore. Llewellyn Publications: 1996. M innesota.

Papus: El Tarot De Los Bohem ios. Clave absoluta de la Ciencia oculta.

Editorial Kier, S.A.: 1970. Buenos A ires.

Pessoa, Fernando: O bra Poetica. Em um volume. Editora N ova A guilar

S.A.: 1986. Rio de Janeiro.

Sadhu, M oun i: О Taro, m anual prat iсо de ocultism o. E ditora Siciliano:

1993. Sao Paulo.
Vitali, A ndrea e Z anetti, Terri: I Tarocchi. Storia A rte M agia dal X V al X X
secolo. Edizioni LE TAROT: 2006. Ravenna.

Waite, A rth ur E.: The Pictorial Key to the Tarot. Being Fragm ents o f a
Secret T radition Under the Veil o f D ivination. With 78 plates,
illustrating the G reater and Lesser A rcana, from D esigns by
Pam ela C olm an Smith. Introduction by Paul M. Allen. R udolf
Steiner Publications: 1971. New York.

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 T h e T r iu m p h O f D e a t h

Taro. A Sorte Pelas C artas. C on stan d o de fragm entos de U m a Tradi<;ao

Secreta Sob о Veu da A dvinha^ao. C om 78 grav u ras ilustrando
os G ran d es e Pequenos A rcanos. Editora Tecnoprint S.A.: 1985.
Sao Paulo.

Produced by Frankie A lbano. (Albano-W aite). This Tarot w as created by

A rth ur Edw ard W aite an d artistically painted by Pam ela C olm an
Sm ith. Published by T A R O T PR O D U C T IO N S, Inc: 1968. Los
Angeles.

W irth, O sw ald: The O riginal an d only authorized O sw ald W irth Tarot

D eck. M ade in Sw itzerland by AGM uller. D istributed exclusively
by U.S. G am es, Inc: 1976. Stam ford.

W ilde, O scar: O bra C om pleta. Em urn volume. Editora ]о$ё A guilar, Ltda:
1961. Rio de Janeiro.

D is c o g r a p h y

Theatre o f Tragedy: Velvet D arkn ess They Fear. M assacre Records: 1996.
C aliforn ia.

-95-
 A r u t a m , M u is a k , N e k a s :
“T h r ee So u ls O f Th e Sh u a r”
Andrew Dixon & Sarah Price

he S h u a r p e o p le o f the A m azon, more com m only known as the

T Jivaro, are best known in Western cultures for their creation o f

shrunken heads properly called tsantsa by the Shuar tribespeople.
These extraordinary physical representations o f the culture o f the Shuar
are based on and a result o f their belief in three distinctly separate types o f
souls, or w akani. These are the aru tam wakani, also known as the ancient
spectre soul, believed to protect the possessor from physical harm ; this is
an acquired soul, and a person may have up to two o f these souls at any one
time. The m uisak w akani is also an acquired soul but one which is created by
the m urder— by physical or m agical m ean s— o f a person, and its existence is
sim ply to gain revenge for the death. For this reason, the m uisak wakani' is
known as the avenging soul. The nekas w akani is the ordinary soul, which is
born with the person but which continues to exist after that person’s death.
The existence o f these three kinds o f souls and their acquisition in the
case o f the arutam and m uisak mean that in Jivaro society the m ost profi­
cient killers (known as kakaram ) are highly revered, and with the sham ans
regularly used hallucinogenic drugs, such as datura and natem a, to access
the supernatural world* So inherent is their belief in the invisible world b e ­
ing the true “reality” that within days o f being born, a Jivaro baby will be
given a hallucinogen to help it see and enter the “ real” world in the hope
that the child will see an “ancient spectre” to help it survive infancy. Even
their hunting dogs are given a special hallucinogen to connect them to the
supernatural plane.

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 A n d r e w D ix o n & S a r a h P r ic e

It is the description o f these three souls which the first part o f this essay-
addresses. The second part describes a ritual undertaken m any years ago,
inspired by the study o f the Jivaro tsantsa during my own forays into the
Tunnels o f Set following Kenneth G ran t’s Nightside o f Eden.

A r u t a m S o u l

The “ancient spectre” soul, or aru tam w akani, is as described above believed
by the Jivaro to be an acquired soul, and som e begin to look to obtain them
from childhood, a s m ales o f the tribe are not expected to live beyond puber­
ty without having at least one. This is m ainly due to the fact that m urders be­
tween tribes is/w as the m ain cause o f violent death, and are usually directed
tow ard men rather than women or children.
W aterfalls are particularly sacred to the Jivaro (they are also known
as the “people o f the sacred w aterfalls” ), as it is in the breezes around these
that the spirits are m ost often found. Those seeking an aru tam vision will
spend tim e, up to five days, bathing in the waterfall, fasting and drinkin g
water steeped in green tobacco. This is a procedure which if not successful
will be repeated at a later date, or if the need to acquire an arutam wakani'
is considered im portant enough, a m ore intense m ethod may be used. The
seeker may resort to d rin k in g hallucinogenic juice, m aikua, the m ost pow ­
erful d rug known to the Shuar and know n in W estern cultures as datura.
After a few hours o f drin kin g the juice o f the plant, if lucky, the person
will enter the hidden world o f the spirits and “wake” in the night am idst
a great storm , with thunder, lightning and w inds powerful enough to fell
trees, although the stars will be absent in this n ig h ts sky. The arutam if it
appears can be in a variety o f forms. It can look like a ball o f fire, a hum an
head or even in the shape o f twro spirit an im als; pairs o f jag u ars or an acon ­
d as fighting are the m ost prevalent. These apparitions can be so fearsom e
that the tribesperson m ay som etim es run from it, but to gain an arutam
soul they m ust go tow ards it and touch it either with their bare hand or a
sm all stick (much like the “coup stick” o f the N orth A m erican Plains In­
dian). When this is achieved, the arutam vision will explode and vanish,
leaving the seeker to return home. The next night they will dream o f an old
m an who, from Michael J. H a m e r’s The Jivaro, will speak to him : “T am your
ancestor. Just as I have lived a long tim e so will you. Just as 1 have killed
m any tim es so will you.” After which, he will vanish and the arutam wakani
will now reside in the dream er s chest.
— 10 0 —
 A r u t a m , M u is a k , N e k a s : “ T h r e e S o u ls O f T h e S h u a r ”

H avin g one aru tam soul is said to protect the p o sse sso r from harm from
m agical attack, death from physical assau lt o r from p o iso n in g ; a person who
h as two is a lso protected from d ise ase an d w ill not die from any reason while
they are in his (or her) p o sse ssio n . W hile on ly h avin g two such so u ls at one
tim e is p ossib le they are not> however, kept with the person for their lifetim e,
as after four o r five years it is believed that the soul will leave and “ w ander
Off” into the jungle. They can a lso be stolen, u su ally by sh am an s, either for
their own u se or on the request o f a w arrior who is p lan n in g to kill the
person ow n in g the soul; o f course, while still in p o ssessio n o f the aru tam
wakanT, the person can n o t be killed. It is for this reason that a m em ber o f
the [ivaro w ould not sto p after h avin g acq u ired on ly tw o so u ls, as after four
years, o r so o n er if one o r both souls were to be stolen, they w ould need to
be replaced.
It is not only tor protection either that the accu m u lation o f aru tam so u ls
is desirable; when ob tain ed they are said to increase the p erso n ’s pow er (ka-
karm a) in m an y w ays. The ow ner o f the soul will feel stron ger and m ore in­
telligent, m ak e it h arder for them to lie or perform acts which are con sid ered
d ish on ou rab le in the eyes o f the Jivaro. W hile they are not to tell anyone o f
their aru tam so u ls, o r they w ill leave them , it is th ro u gh their actio n s and
abilities, th eir confidence an d d em e an o u r that oth ers can know that they
now hold one, or if it is su bsequ en tly lost.
Therefore over their lifetim e, a Jivaro could p o sse ss m any so u ls, and
while only tw o m ay be held at any one tim e, w hen the next is taken it will aid
the person in keep in g the pow er o f the previou s so u l, so that they grad u ally
accum ulate stren gth a n d energy th rough these practices.
O ne other attribute o f a cq u irin g an aru tam w akan i, however, is that in
m ost in stan ces the su ccessfu l seeker will be filled with a great desire to kill,
and within m on th s w ill join an expedition to an o th er tribe with the sole
p u rp o se o f co m m ittin g m urder. It is when th is o ccu rs that an o th er form o f
soul com es into existen ce, the m u isak .

M u is a k S o u l

The m u isak is know n a s the aven gin g so u l and co m es into being upon the
death by m u rd er— in cludin g sorcery— o f one w ho h as p o sse sse d an aru tam
soul in their lifetim e. In fact the n u m ber o f aru tam so u ls that they accu ­
m ulated in their life will be created upon their death , natural o r otherw ise,

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 A n d r e w D ix o n & S a r a h P r ic e

to live on in the jungles and waterfalls before join ing for a while with other
Jivaro in the future.
At the point o f death by murder, however, the m uisak soul is form ed and
leaves the victim via the mouth and will try to exact revenge on the killer,
or if they are protected by an arutam w akani, upon their wife or family. To
do this, the spirit will transform itself into one o f three form s o f demon or
iwancT: either an anaconda or boa constrictor which would tip a raft on the
river thus causing death, a poisonous snake to kill with its venom , or a tree
to fall and crush the potential victim . It is believed the dem on will only take
one life, after which it will vanish and not kill again.
It is to counter this and protect themselves and their fam ilies that the Ji­
varo will take the head o f their assassinated foe and use it to create the tsant-
sa, which capture and im prison the m uisak, preventing it from perform ing
its m ission o f revenge. The head is removed from the body and the skin cut
up the back to m ake the removal o f the skull easier; this cut is re-sewn and
the skin is cleaned through boiling and repeatedly filling with hot stones
and sand. Tar and charcoal is rubbed into the skin, and the eyes and mouth
are sewn shut to thereby contain the avenging spirit until it can be dealt with
when the Jivaro killing party returns home to its tribe.
Im m ediately after their return, there com m ences a period o f feasting
and dancing during which the power o f the m uisak can be transferred by
the taker to others, usually women close to the killer. This is unlike the aru ­
tam soul, whose power can only be used by the one in which it is contained.
D uring these feasts and celebrations o f which there can be one but m ore
typically three, the tribespeople are careful not to become involved in any
lights or disagreem ents, as it is thought that the m uisak will take the oppor­
tunity to escape from the binding which im prisons it within the tsantsa and
com m it murder.
At the end o f the feasts, a banishing will take place and the m uisak will
be sent back to its place o f origin. The shrunken head is now considered
em pty and o f no spiritual value to the tribe, so can be freely passed on or
sold. In rare cases the m uisak will be kept bound within the tsantsa, usually
by a sham an to be used in acts o f sorcery.

N e k a s S o u l

The nekas w akani is known as the true soul and unlike the aru tam and m ui­
sak, is born with a person rather than being acquired and is viewed by the
—1 0 2 -
 A ru ta m , M u isa k , N e k a s: “ T h r ee S o u l s O f T h e Sh u a r"

Jivaro, as in m any other cultures, as being Linked with the blood. It is consid­
ered passive d u rin g a p e rso n s life and is not held in the sam e esteem as the
other souls* and so it is not held in any deep regard or interest by the tribes.
When it leaves the body after death, however, the nekas w akani then goes
through a variety o f transform ations.
In its first iteration, the soul leaves the host body in an invisible but
identical form and m oves to a spirit house, which is exactly the sam e as the
p erso n s when they were born. All deceased m em bers o f the tribe will be
there, and the spirit will go through the person’s norm al activities as in life
and will move a s he/she did, effectively reliving the entire life span again as
a ghost or “hum an dem on”. These souls, by going through the m otions o f
eating, drinkin g, etc. are always unfulfilled and hungry, and are som etim es
seen as pairs o f owls an d deer in abandoned sites. Once the entire lifetime
has been repeated, the true soul will change again from a “ hum an dem on”
into a “ true dem on”, in which form it is visible, though reputedly ugly and
alone, w andering the forest desperate for the com pany o f others. A gain, the
life span is “ lived” out and another form is taken— a large butterfly or moth.
These are not feared? By the Jivaro as they may be the soul o f an ancestor
an d as they are again considered to be always hungry, an offering o f sweet
m anioc tubers or m anioc beer will be m ade to them.
After a tim e, this form will fall to the ground and die, when its wings
are dam aged by the rain and the true soul will turn to water vapour. It will
go through no m ore ch anges and will exist forever as m ist, fog and clouds.

•1 0 3 -
 A n d r e w D ix o n & S a r a h P r ic e

T h e R it u a l

After having studied the Jivaro/Shuar for som e time and been allowed ac­
cess to several authentic tsantsa by the Pitt Rivers M useum in O xford, 1 was
inspired to create a sim ilar entity. This cam e during a period when I was
experim enting and exploring in the Tunnels o f Set using Kenneth G rant’s
Nightside o f Eden; I was focusing on the 24,h Tunnel sentinelled by Niantiel,
and the death sym bolism and the influence o f Scorpio inherent in this re­
gion seemed entirely suitable for such an endeavour, with its links to necro­
mantic sorcery and zom bieism .
From Kenneth G ra n ts Nightside o f Eden (p222-223) describing an At-
lantean ritual o f zombification: “ The zombie produced in this w as not a
soulless m echanism —as in the case o f a zom bie produced by Haitian Voo­
d o o —but a highly intelligent though autom atic entity com bining the vivid­
ness and plasticity o f astral consciousness with the m agical qualities o f the
Adept himself. It w as literally a child o f the dead yet equipped with m agical
powers and with all the faculties o f hum anity except that o f the W ill"
And from Linda Falorio’s Ihe Shadow Tarot: “ Here is the Black Tem­
ple Work o f Atlantean M agicks, devolved into death cults which survive
into the present time. Here are cults o f m agical cannibalism , o f shrunken
heads, o f necrophilia with souls newly released by death for creation o f astral
zombies.”
For this entity 1 obtained a replica tsantsa from Ecuador which would
provide the physical shell to contain the spirit.
While waiting for the tsantsa to arrive, a ritual space was prepared and
a sigil o f Niantiel w as “painted in lurid indigo brown—"like a black beetle*—
on an indigo triangle on greenish blue”1and charged with blood. Graveyard
dirt wras spread around in the temple space, as were bones and various im ­
ages o f Death. O n the altar the bodies o f a beetle and a scorpion were laid
just below where the tsantsa would be placed. Below these, plates and bowls
were left wit h offerings o f food, fruit and flowers left to rot and putrefy; these
would be my incense for this rite. Five candles were used: three black, one
white, one yellow. From Aleister Crowley and Lady Frieda H arris’s the A TU
XIII Death was used on and as a guardian for the doorway. A lso in prepara­
tion, visits were paid to places o f death, graveyards, sites o f plague pits and

* K e n n e th G ra n t, N ig h tsid e o f E d e n . p219

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 Ar u t a m , M u is a k , N e k a s: “ T h r e e So u l s O f T h e S h u a r ”

scenes o f m urd er where offerings were m ade and in som e in stan ces tokens
(flowers, a stone) were taken an d left at the altar.
The tsan tsa arrived an d was place on the altar with the charged sigil o f
Niantiel. Five consecutive nights were assign ed for the r itu a ls com pletion.
The first evening after bath in g I entered the ritual space an d lit the can ­
dles, an d the n am es o f the qlipha N iantiel were repeated as a m antra over
and over while 1 began usin g K arezza, m astu rb atin g to the point o f ejacu ­
lation but without release. This w as continued Long into the night while 1
focused on the sigil and attem pted to m ove into and beyond it. Eventually
tiredn ess an d exhaustion left m e unable to continue, an d I closed the rite in
preparation for the next day.
The second night followed the way o f the first with the rite being co n ­
cluded with no discernible result.
C on tin u in g on the third night, I again began my m an tra an d within
m om ents o f startin g K arezza, went into a m editative/trance state with an
alm ost physical jolt an d while look in g at the N iantiel sigil, had the sensation
o f bein g sim u ltan eou sly pulled tow ards it w hile bein g pushed away. W hen
tryin g to describe the feeling later, I could only say that m y eyeballs felt as
though they had shot forw ard, reversed them selves, gone back an d reversed
them selves again as they returned to my sockets. T his feeling o f m ovem ent
while not m ovin g will o f co u rse be fam iliar to those who p ractise any form
o f m editation or ritual. W hile in the T un nels o f Set, 1 found that op p o sin g
experiences w ould o ccu r with great regularity an d quite often be an in d ica­
tor o f having entered one o f the Tunnels; loud th u n d erous noise an d total
silence existin g in my con sciou sn ess together was a frequent occurrence.
D irectly after this, the painted sigil— the focus o f m y attention— seem ed
both clearer an d further away; as the evening continued my trance state
deepened an d expan d ed . The room , w hile sm all, seem ed extensive, its
b o u n d aries no longer lim ited. A n im bus o f rainbow -like colou rs seem ed to
form a halo arou n d the im age, although I could not honestly say if m y eyes
were still open at th is point. There w as a feel o f m ovem ent arou n d me, o f
furred th ings ru stlin g but m ak in g no noise. The floor/ground w as covered
with sm all sn ak es also hazy, sh im m erin g, iridescent an d rainbow -coloured.
I attem pted to m ove m y focu s to the tsan tsa; without sp eak in g or m ov­
ing, I tried to indicate my intent for an entity to inhabit this shell. U nlike
the ritu als perform ed by the Jivaro to keep an d contain a m u isak wakan'i
(avenging soul) o f a m urd er victim , 1 w as h opin g to induce a w illing entity

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 A n d r e w D ix o n & S a r a h P r ic e

into th is form . This only continued, however, for a short period. Fading,
draw ing away and darkening while becom in g m ore solid and substantial,
the room around m e w as som ehow less. A lm ost too tired to move and sh ak ­
ing with exhaustion, but exceedingly pleased, I closed dow n the ritual for
the night and slept.
Fourth night. Enthused by the previous evening, 1 began again and this
tim e the entry into the 24th Tunnel w as easier—som eth in g akin to going
down a slide— although the d iscom fort o f m oving/not m oving w as stiLl
there and im parted a feeling o f nausea. By degrees both the room an d my
consciousness seem ed to expand; there was the feeling o f bein g watched and
the im pression o f m ovem ent again , still silent. Vague geom etric shapes or
firework explosions seem ed distant and faint, then the im pression o f fading
into a jungle, and now there w as noise, chatter, clucking, shrieking—not
overpow ering but continuous. Creatures/entities seem ed to be ju st beyond
eyesight or view, an d 1 had no im pression o f the room I was in at all, as I
полу stood and turned around, glim psin g m ovem ent but not seeing. In the

way I had done previously I sent out my invitation, visu alisin g rather than
verbalising. I kept turn in g and залу p art o f the foliage w as pushed aside, and
a fur-covered figure cam e before m e on all fours: a sloth.2 In my head I only
heard a nam e “M attie”.
Final, fifth night. A fter closing the ritual the previous night, I had
know n I had found the entity which would inhabit the tsantsa. “H e” had
accepted the invitation to inhabit the shrunken head, to be provided for and
to provide services. This had been achieved without con\rersation but with
com plete understanding. I had closed the ritual and sat in the room rest­
in g— even then the shell which would com e to contain M attie, at least in
part, seem ed to be now som eth in g m ore than ju st an object.
With blood and oils, the tsantsa was sigilised and blessed; this tim e
again with com parative ease I slipped into the Tunnel sentinelled by Nianti-
el to com plete the last part o f the ritual. This tim e I held with m y right hand
the shrunken head. The “ feel” o f the Tunnel w as sim ilar, and although I had
the im pression o f being in a jungle o r forest, it was one o f blackness with
everything still clear and visible (there was no sun, sky or m oon). M attie
and I met, and though as described different, we were in the sam e place; our
agreem ent w as confirm ed, and I traced the sigil I had used on the tsantsa on

2 S lo th s a n d m o n k e y s are b o th u se d b y th e liv a ro to p r a c tis e th e ir h e a d - s h r in k in g

te c h n iq u e s.

- 106-
 A r u t a m , M u is a k , N e k a s i “ T h r e e S o u l s O f T h e S h u a r ”

his forehead. Leaving the Tunnel, while not hard, was a different experience
this tim e—jagged and uneven rather than som ething sm oothly fading as
experienced before, but the rite was closed and Mattie and I left the ritual
space together.

Andrew Dixon & Sarah Price

•1 0 7 -
 A n d r e w D ix o n & S a r a h P r ic e

B ib l io g r a p h y

B ertiaux, M ichael: V oudon G nostic W orkbook, M agickal C hilde Inc., 1988

Brujo N egro: V oodoo Sorcery G rim oire, Scientists o f New Atlantis» Palm
Springs, 2000

C astan ed a, C arlos: The Teachings o f Don Juan, Penguin B ooks, 1970

Tales o f Power, Penguin B ooks, 1976

A Separate Reality, Penguin B ooks, 1977

Journey to Ixtlan, The Lesson s o f D on Juan, Penguin B ooks, L994

Falorio, Linda: The Shadow Tarot, Aeon B ooks Ltd, 2004

G rant, Kenneth: C ults o f the Shadow, Frederick Muller, London, 1975

N ightside o f Eden, Frederick Muller, London, 1977

O utside the C ircles o f T im e, Frederick Muller, London, 1980

H all, Nicholas: C h ao s an d Sorcery, Published by N icholas Hall, 1992

Harner, M ichael J: The Jivaro, People o f the Sacred W aterfalls, Robert H ale
and C om pany, London, 1973

Sennitt, Stephen: D ark D octrines, The N ox Anthology, N ew World

Publishing, Yorkshire, 1991

M onstrous C u lts, N ew W orld Publishing, Yorkshire, 1992

Svoboda, Robert E: A ghora, Brotherhood o f L ife Publishing,

A lbuquerque, 1986

A ghora II: K un dalin i, Brotherhood o f Life Publishing, A lbuquerque, 1993

A ghora III: The Law o f K arm a, Brotherhood o f Life Publishing,

A lbuquerque, 1997

U p de G raff, E W: H ead Hunters o f the A m azon. Seven Years o f

Exploration an d Adventure, G arden C ity Publishing, New
York, 1923

108-
 A rutam , M u isa k , N eka s : “T hree S o u ls O f T he S huar ”

Wendell, Leilah: The Necromantic Ritual Book, Westgate Press, New

Orleans, 1991

Our Name is Melancholy, Westgate Press, New Orleans, 1992

-1 0 9 -
-п о -
 “I n T h e G a r d e n O f B o n e s :
W o r k i n g W it h D e a t h & T h e D e a d
I n Pa n -A e o n ic W i t c h c r a f t ”
Bradley Allen Bennett

I
In t r o d u c t io n

“For rebellion fis as] the sin o f witchcra ft, an d stubbornness [is as] iniquity
an d idolatry. . . ”

— l S a 15:23 K JV

I
n tro d u c tio n s are in order, both for my avowedly stubborn and rebel­
lious person and this thing Гш calling “PAN-Aeonic W itchcraft”. Only
a few o f you will ever have heard o f me before now. I come from rela­
tively unknown quarters. I am Bradley Allen Bennett, known also as Two
Crows, Frater Uraeus 161, and previously as N V D 111. The other num erous
nicknam es, nom de plum es, and handles IVe wielded and answered to over
the years are im material to this work, but stories in themselves. To m ost
directly addresses, via an intentionally m ixed metaphor, the four-hundred-
pound pink elephant in the room — I do in fact think o f m yself as another
incarnation o f my nam esake. H aving m astered the Wand, 1 have returned
now to m aster the Chalice and share the mysteries o f the Jar o f our M other
PANDO RA via the Uncoiling o f V1GEROS into the present space-tim e.

- Ill-
- 112
-
 In T h e G a r d e n O f B o n f. s

B ecause o f m y uniquely p erson al sp iritu al and m agik al journey, Pm not

alw ays quite su re how to present m yself when the obligatory religion-tradi­
tion qu estion s arise. M ost labels fail m iserably to convey the essence o f my
experiences. It really can n ot be otherw ise for anyone and pat an sw ers halt
d iscu ssio n s with assum ptive nods. Those labels I claim for m yself I d o so
on my ow n term s. I eschew term in ological straight-jackets and notions o f
proprietary definitions in the face o f evident broader usages. I have found
that groups o f “ like m in d ” all too often rim the pitfall o f groupth in k. Labels
seem too often to b y pass the patient processes that lead to u n d erstan d in g
an d onw ards to w isdom . D angerously entrenched literalism often com es
from conceptual fixations and the inability to break free from the fetters o f
sym bolic lan guage. Joseph C am p b ell poign antly fram ed it a s the m istake
o f conflating poetry with prose. On one o f another h an d s, it is also v ia lan ­
gu age con stru cts that m agickal en gin es can be fashioned which are able to
propel us into places beyond the w ords o f ton gu es a n d w akin g m inds.
At the sam e tender age that I discovered that there w as such a thing
a s religion in the world, it w as p ain fu lly evident that not everyone accept­
ed each other under w hatever labels their adherences left them stuck with
or that they chose via the herding instinct. In the d om inan t society o f my
youth, being rejected by any num ber o f religious adherents m eant only one
th in g— eternal d am n atio n . It d id n ’t m atter which den om ination I e x am ­
ined, they all had a hell for people not like them. M ake no m istake; O ccul-
ture h olds its ow n d am n atio n s an d group n o rm in g in order to avoid them.
I spent a season in the B aptist Tem ple d oin g my best to avoid Hell, an d have
paid those d u es in full and then som e. I have, afterw ards, chosen to g la d ­
ly accept w hatever d am n atio n s are heaped upon me. 1 have joyously found
M other Hell am on g m y greatest teachers.
PA N -A eonic W itchcraft finds its way into the present Aeon via the m o n ­
om yth ic jou rn eys o f in d iv id u als upon the Serpent Path, their delvings into
unknow n d irection s, an d their w illin gn ess to assu m e the d am n atio n s o f all
auth orities in heeding their own hidden gods. It represents the continuation
o f the fru its o f at first seem in gly ludicrous endeavors via the seeds o f d isco n ­
tent, rebellion, and tran sgression , again st the broad social fabric and also
the occult institution s that have so m etim es too easily and eagerly d ism issed
them . That line o f heirloom seeds w as first sow n in preced in g A eons and
carried forw ard by radical thinkers and doers. Their fresh fires from the
heavens have brough t us N U A eons and w orlds to explore. Their lineages are

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tangled and hidden, but the fruit is that selfsam e forbidden in the garden.
The threshold o f the path leading thereunto is attended by dark and horrify­
ing watchers, the narrow gate fram ed by Lust and Terror.

IZ T O P I A H IS T O R IA

The relentless hunter o f all that moves, constant shadow

casting gloom ; collector o f all that breathes, an d a s sure as
m others womb, aw aiting all the gatew ay to otherworld yaw ns
wide the patient tomb. Priesthoods an d statehoods m ortal
fe a rs do perpetually groom , a garden o f souls fo r pow ers sake
ever greedily do they consume; In the blackest p it o f hell alone
through torments, flow ers o f eternal freedom brightly come
to bloom.
'Throughout the Aeons nothing has contributed m ore to the enterprising
endeavors o f m agico-religion than the black-veiled m ysteries o f D eath and
what resides beyond the m isty pale in that place untouched by glad sunlight.
N othing has stirred m ore terror in the beating hum an heart* instigated more
hopeless claw ing after im m ortality, or been any surer than the cold boney
grip o f Death d raggin g souls kicking an d scream in g into the great black
unknow n. N oth ing h as m ore m urderously instigated the rending o f souls
from hum an flesh to render fuel for the fires o f any num ber o f Hells. All
this and yet exploring the m ysterious unseen w orlds has been the business
o f C u nn in g Folk the world over, under any num ber o f nam es. PAN-Aeonic
W itch-M agi find them selves in the sam e ageless and d angerous pursuits.
They cannot do otherw ise.
The term “PAN-Aeonic” is not m ine. As far as I can tell in my present
state o f education that term, at least as pertinent to this work, w as coined by
N em a o f M a d t M agick fame. The work o f the H o ru s-M aat Lodge, with its
num erous well-published M agi, is the prim ary source for the PAN-Aeonic
conception as I am presently w orking it, but it is not the only one. An Aeon,
in the sense presented here, com es via the Thelemic catena through Frater
Achad and various Thelem ic com m entators from the M aster Therion, and
has roots in allusions to the Ritual Officers o f the Herm etic O rder o f the
Golden Dawn. Attendant to and in form in g that catena is a broader collec­
tion o f conceptions ow ing roots to Jewish, C hristian, Q abalistic, G nostic,
and Neo-Platonic sources. These reach even further into the history and
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 In T he G arden O f Bones

archaeological record o f Astrology and Calendrics in all its various appli­

cations. It stretches its tentacles into dozens o f related subjects and sciences.
Simply put, PAN-Aeonism is a rich, deep, and broad subject, for which I
have only scratched the shallowest surface. If I have conceived o f anything
new, it is upon the shoulders of giants, and 1 yet return often to their foun­
tains for inspiration.
Beginning som etim e in the early nineties 1 becam e obsessed with es­
chatological m ythologies and conceptions in every form I could uncover.
I delved every source i could find, and I'm still not finished. What 1 was
after at first was som e sense o f the inspirations o f Apocalyptic and Pseudepi-
graphic Traditions in the canonical and apocryphal Judeo-Christian literary
corpus, and their influences on modern M illennialism. My obsessive inter­
ests also included Astrological Ages and astronom ical-calendrical calcula­
tions of the Age o f A quarius and the Kali Yuga. What I found was that this
subject matter linked inseparably with a great many notions, som e o f which
are seemingly central to a handful o f distinctive cosm ologies held in a vari­
ety o f m agico-religious traditions and associated sects. My research would
eventually lead me to the work o f fjem a and the Horus-M a’at Lodge, which
seemed to hold the most advanced and balanced Thelemic Aeonic template.
I still hold this view o f the M aatian Aeonic M ap, and it is one of the elements
deeply inform ing my personal work. Another is the Cult o f V IGERO S, with
its Chthonic, A uranian, and O phidian energetics.
If nothing else, 1 am a death-touched individual. At the age o f six I ex­
perienced my first near-death experience in the throes o f an encephalitic
fever. I have held a Scorpionic fascination with Death and the Dead, the
macabre, and the inner workings o f living things from a young age. I have
more than once played in graveyards, even as an adult. As an Emergency
Medical Technician and Firefighter I handled the dead bodies o f alm ost ev­
ery conceivable form o f dem ise, from the victim s o f murder, suicide, and
automobile accidents, to those o f burning, electrocution, dism em berm ent,
drowming, and natural causes. I have more than once attended to dying hu­
man beings or even held them in my arm s, from lovely old grandm others
having their last heart attacks to teenage suicides distraught over lost girl­
friends. I have looked in the eyes o f a burning m an while wholly unable to
rescue him and shortly afterwards called to give an account o f his dem ise
to his sorrow-stricken mother. I worked a city morgue contract for a few
years in which I first encountered decom posed corpses and experienced the

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 Br a d l e y A l l e n Be n n e t t

w orkings o f a large city m orgue, which was strangely like som ething out o f
a cliche television police serial. Beyond the physical and m undane aspects o f
my experiences with Death and the Dead, the unseen world has also pressed
itself upon me. It is th is aspect o f my experiences that may prove the more
interesting.
A m ong a host o f other Spirits, the departed have penetrated my aw are­
ness in w aking space-tim e and the between realm s o f dream , vision, and
unlearned knowledge from a young age. I have routinely experienced pres­
ages o f the deaths o f all the m em bers o f my paternal side o f the family and
intermittently those of other relatives, friends, and a tiny handful o f people
unrelated to me. In popular paranorm al parLance, “I see dead people1’ and
not all of them know that they are dead. Som e are certainly nicer than o th ­
ers. For a long time I was labored under the com m on conceptions o f Spirits
of all sorts, the Dead included. In time 1 learned to take them all the sam e
way 1 take people, anim als, and other aspects o f reality, on their own terms
without allow ing the gossip and preconceptions to overly taint my own con­
clusions. We all have friends that others simply don’t care for or outright
hate. M y Spirits are nothing different in that regard.

3 1

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Roughly seven years ago now the stars conspired to bring together a
sm all group o f occultists that took the nam e o f O rdo A ShA . The fateful m o ­
ment o f im petus in the form ation o f this order took place behind the scenes
o f the Chthonic-A uranian Tem plars o f Thelem a at the suggestion o f one o f
the Sovereigns, though he m ight not rem em ber precisely the discussion in
question or even the people involved. O A ShA w ould go on to becom e the re­
cipient o f an on going series o f m essages from an alien intelligence known as
V IG ER O S. W hether at the h an ds o f interpersonal will in the constellations
o f w andering stars or the nature o f the m essages them selves, all but two o f
the m em bers o f O AShA w ould eventually depart the order and go their sep ­
arate ways shortly following a tim ed ritual to bring V IG ER O S to Earth. One
has taken the mantel o f authority in the outer governm ent o f the order and
is forever grateful for the love, soul honest w isdom , and selfless assistan ce o f
his friend in bringing V IG E R O S forw ard into the light o f aw areness beyond
the m em bership.

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 B r a d l e y A l l e n Be n n e t t

M Y0QI M YTH OS

c%
H er gates are gates o f death, an d fro m the entrance o f the
house she sets out towards the underworld. None o f those
who enter there will ever return, an d all who possess her
will descend to the Pit.” —The Seductress, Fragm ent 4Q184,
D ead Sea Scrolls

This is the Year o f the W itch, m arked not ju st by the trisd ecad ic nu-
m erary nexus o f the C om m on Era year, but the undeniable stirrin g s in the
visions and w orks o f those o f the blood everywhere arou n d the world. The
A pocalypse has indeed daw ned, raisin g the veil for those with eyes to see,
ears to hear, and h earts w orthy o f carry in g the m ysteries o f W itchcraft and
low m agick in their own D eepin gs in the m anifest world. These strange
so u ls are those that have accepted their gifts an d curses, taken the W itches’
M ark and enjoined the tran sgressive and D ionysian Serpent Path. They bear
the stigm ata that in the d om inan t society are the sure m ark s o f dam nation.
In the som etim es relatively safer and lighter m agical notions o f C o n tem p o­
rary P agan ism and P opu lar W icca, they are often thought o f as too dark, too
dangerous, and perhaps wholly unacceptable. This up-swell in the energetics
o f W itchcraft is part o f the evolution o f the sp ecies and the unfolding o f the
H orian W ord and A eonic Zeitgeist. This Season o f the W itch shall a lso mark
the return o f the Bird Serpent god d ess from the dark depth s o f the all but
forgotten Aeon o f ISIS, bringing even further balance to the solar-phallic
force an d fire o f the Haw k-headed god opening up N U vistas o f explora­
tion in the unseen w orlds o f the Lunar-Yonic and actively balan ced alch em ­
ical-transform ative syzygies o f a variety o f p airin g s beyond mere com m on
gender duality.
The equinoctial ch an gin g o f the go d s h as brought the Aeon o f H ORUS
in which the basic unit o f sovereignty is the individual and the w ords o f the
Zeitgeist Thelema-W i 11-Agape-Love. Prior to that w as the Aeon o f O SIR IS
which offered the w ords o f obedience-duty-sin-dam nation and the n a­
tion-states with their attendant state religions a s the basic unit o f sovereignty
headed by god-kings and m ale d em os-coun cils. The A eon o f M A’A T has also
shown itself in the D ouble-C on sciousn ess and D ouble C urrent o f H O R U S-
M A’A T, with its truth, balance, and natural order, and in which the interplay

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 In T h e G a r d e n O f B o n e s

between individual and the fabric o f the cosm os, future, past, and present
consciousnesses, in which sovereignty is forged in tw ining. Prior to the age
o f the Father and dying god-m en w as the Aeon o f ISIS the G reat M other
about which little is well know n, and yet there are even still m ore A eons. The
Aeon follow ing M A ’AT has been contended as that o f H R U M A C H IS, while
am biguities su rro u n d in g the template o f ritual officers an d m ean in g o f Liber
A L are entertained by w ise authorities an d centers o f pestilence alike. At the
beginn in g o f tim e, or perhaps the m ythical age o f eternal return, is offered
the Aeon o f the D w arf BES in which the sovereignty w ould presum ably be
that o f the individual or family, the latter favored by m y own Spirits. O th ­
er A eons and description s o f those currently entertained include N am eless,
Silent, W ordless, SET, the chaotic Pandaem onaeon, and one or two perhaps
from my ow n in spiration s, PAN and Enchirid-A eon. Before these A eons
were m any others in the m aps o f the G n ostics Valentinus and B asilides, and
it is from those that we learn o f SO P H IA , H O RO S, and the Logos-W ord that
found its way into the Joh annine works, possibly better attributed to M ary
M agdalene. The word “A eon” itself holds conn ections with the words O lam ,
Kalpa, Life, “Eternal Life”, and the archaic G reek Aiwon, strangely sim ilar
to the nam e A1WASS. A ION is also the Hellenistic god o f U nbounded Tim e
standing in the center o f the A nn ulus o f the C o sm o s and the Z odiac. The
im agery o f the thirteenth stan d in g at the center o f the twelve, the center
everywhere and the sphere the lim its o f which are nowhere found, are no
feeble or useless allusions. They m ight perhaps offer a different perspective
on the “scarcely a dozen m agi” in the history o f the world according to the
confessions o f A leister Crowley.

eEQ PIA TH EO RIA

*lt is ... through the world o f the im agination which takes us
beyond the restrictions o f provable fact, that we touch the
hem o f truth ” — M adeleine UEngle, A Circle o f Quiet

There is an ancient and natural order evident in the m ultiverse. A ll sc i­

ences, even those o f Scientific lllu m in ism and the arte s thought prim itive
or su p erstitio u s by the d o m in an t society, rest on the fou n d ation s o f basic
em pirical m eth odologies. The key is m eth od ologies, not a single m ethod.

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 Br a d ley A llen B e n n e t t

All m aps, taxonom ies, an d axiom atic laws fail in the shiftin g o f scale and
context. M agick is no different. M ixin g the planes is actually one m ethod
o f m agick. It is confusion o f the planes, like the spacem arks, that is the
pitfall.
PAN-Aeonic W itchcraft offers a suite o f m ethodologies, an elastic and
scalable m odality all its own. It is not wholly unlike shifting m ethodologies
in a linear and ascending map, but differs by a draw ing to the center o f both
a sim plified map and a balance o f m aps at a center point. It is a widening
spiral rather than a lightning bolt or twisting path, but it can also be those
in context if need be. Through the Cult o f V IG ERO S it offers another unique
Serpent Path not on a tree, but rather in the stars and the reflection o f those
stars in the Underworld, reified in the center through a chiasm us much like
sense data and neural im pulses traversing the physiological pathways o f the
hum an brain. It puts the observer at the center o f an annulus o f selectable
states o f consciousness, affording scalable perspectives in holistic, particu­
late, and gestalt resolutions. It offers approaches o f going below to rise above
and “as above so below”.
D ualism is a biologically and physiologically rooted evolutionary im per­
ative in all sensate organism s, the driving program o f survival in all species.
At a cellular level it presents as the Pleasure Principle, that instinct o f philia
and phobia that draws organism s tow ards life-sustaining situations and re­
pels them from exposure to harm and eventual death. The first recognizable
dualism in biological consciousness then is Life and Death, in the experience
o f pleasure and pain. In the hum an organism this scales upwards through
the reptilian, m am m alian , and prim ate structures in the triune model o f the
hum an brain, and entails such things as the physiological necessities, libido,
em otions, and social instincts. This is the stone sill o f the narrow gate whose
jam s are Lust and Terror, and the am plified dualism of Life and Death seep ­
ing ever upw ards from the cellular level to waking consciousness through
the murky waters o f the inner underworld.
Suffering is also rooted in biological precedents and likewise rises con­
tinually from our cells, organs, and cognitive structures into waking con­
sciousness. Pleasure and pain are the resultant qualitative experiences of
natural processes, the sum o f w isdom o f single-celled organism s exploded
into scales that afford contemplation and self-reflection. It is in this scale

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 In T h e G a r d e n O f Bo n e s

that the trouble really begins 1 think. If we were single-celled organism s or

less contemplative anim als, the wisdom o f the natural world would be closer
to the surface. The Pleasure Principle or Fight or Flight Instinct w ould take
us out o f suffering a whole lot sooner. Pain and suffering are quite simply
natural signals that som ething is wrong. The present hum an condition has
program m ed us to deny ou r pain and ignore our em otional and psycholog­
ical suffering, to even take pills to numb us to the natural results o f living
out of balance with our own natures and the natural order o f the m anifest
world. It has likewise m ade pleasure into a sin. We are lost in our so-called
higher brains, intentionally conditioned, and habituated to contrived real­
ities that any brainless protozoan would tell us, if it could only speak, will
eventually result in our death and extinction.
The Garden o f Bones is not some faraway place, nor is it only found in
cem eteries and Charnal Houses. It is the soil under our feet, the m inerals
o f our bones, the flesh o f our parents1 flesh, and the very atom s o f our per­
son. O ur connections to the Ancestors exist in these selfsam e substances.
The m em ory o f our entire line resides in the genetic helix o f our DNA. The
A kashic Record exists not only on the A stral, but in the collective hum an
unconscious which may not be the sam e realms. As our will unfolds so does
the A kashic Record and our connections to Theall and the Pieroma, includ­
ing all that have lived before us and will live after us. By the stardust in our
bodies and structures in our cells that may well prove to hold resonances
with quantum levels o f reality, we are also connected to even the m ost alien
entities beyond our im aginations. We are all related.
The PAN-Aeonic Memeplex works as a m ap o f consciousness; a devel­
opmental template; a curriculum o f study; a m anual for practice; a suite of
m odalities; a catalog o f m ethodologies; a com m entary and plan o f hum an
evolution; a cabinet o f sym pathies; a path o f initiation; the aerospace-fram e
o f a space-tim e vehicle suited for excursions into alien realm s; a temple fur­
nished for incursions from the daim onic underworlds; a holographic car­
tography center; and a com m unications array between endless num bers o f
worlds. The good C hronom age o f G allifrey only wishes he had such a reli­
able vehicle.

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 B ra d ley A llen B en n e t t

П РАН IX P R A X IS
“Supplicant we stand before the Powers o f Life a n d D eath,
an d are heard o f these Powers, an d avail. O ur way is the
secret way; the unknown direction. O ur way is the way
o f the serpent in the u n d e r b r u s h —Jack Parsons, “ The
W itchcraft”

The W itchcraft has ever known Death and that m ost intimately. Those
that tread the Serpent Path have long seen beyond the pale, trafficked with
the Shades o f the Dead» and com pacted with the citizens o f Avernus and
EREBO S. Like IN A N N A before them, they have delved the darkn ess and

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 In T h e G a r d e n O f Bo n e s

disrobed before ER ESH K IG A L, and befriended Death in the in fathom ­

able Ordeal. In the depths o f the lightless pit, they have felt the caress o f
h ells own worm that dieth not and holds the unquenchable hidden fire,and
found their truest selfnesses. What returns from the Charnal House returns
with the seals and keys o f the Underworld. It is not hum an in the com m on
and pedestrian sense, but a true hum an being according to the ancient and
natural order.
W hile m agico-religious institutions may be characterized as “orthodox­
ies” and the various traditions o f The Wicca as “orthopraxies”, the work of
Witchcraft seem s best characterized as a heteropraxis personally tailored to
individuals and sm all groups at local levels in their native landscapes. It is
tailored also according to their truest natures and current best nurtures in
study, practice, and state o f awakening to Mystery. These o f course can be­
com e concretized and codified into orthopraxic forms, but the moment they
do not, all o f their parts will perfectly fit the natures o f those that com e to
engage them later, unless they are elastic and flexible. The natural tradeoffs
between tradition and eclecticism should be obvious. I hold neither as any
more valid than the other, but personally choose the latter according to my
nature. Nature and nurture should be noted in the process o f gaining skills
in the N am eless Arte. W orking with the D ead may prove harder for som e
than others, just as working with the Living.
Studying the literatures o f science, m agico-religion, com parative my­
thology, history, philosophy, psychology, anthropology, art and fiction
surrounding Death, Dying, and the Dead is useful to our education. It is
through cultivated literacy o f the subject matter that we may learn a full­
er spectrum o f Death and the Dead in the hum an condition and unseen
worlds. W hile this enterprise is able to provide interesting facts, such as the
reality o f coffin births and the use o f corpse cages in attem pts to thwart the
return o f the Dead, the fullness o f our studies moves out o f mere trivia only
when we get our hands dirty.
The foundations for w orking with Death and Dead may be found in
the sim ple choices and actions o f daily life over time. Touching the Dead in
every natural way possible brings a resonance with both Life and Death that
cannot be obtained in any other way. H andling corpses, attending funerals,
visiting cem eteries, acting as a pall bearer, grieving, attending to the griev­
ing, sick, and dying are all invaluable life lessons. Contem plating where our
food com es from and actually harvesting and preparing it can bring us to

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 B ra d ley A llen Be n n e t t

offer thanks to the lives o f plants and an im als extinguished in our own su s­
tenance and survival. Slaughtering and cutting meat reveals the true nature
o f sacrifice. The fullness o f Life cannot but bring us closer to Death and the
Dead. Avoid neither for they both hold treasures.
H onoring the Dead in ritual acts at seasonal celebrations and addition­
ally at specially appointed tim es throughout the year opens us to contact
with the Spirits o f the Dead. Ritual acts o f respect for the Dead in our fam ­
ilies, com m unities, and local landscapes are again invaluable life lessons,
but they also put us at the threshold between the worlds and in contact with
potential m aterials for stocking ou r cabinet o f sym pathies. The collection o f
flowers, earth and other m aterials at funerals, Day o f the D ead and Sam hain
celebrations, and visits to sites associated with ancient ancestors can work
on multiple levels, including the arcane m aterials used later in rituals be­
yond the celebratory.
O u r Cabinet o f Sym pathies consists o f those associations, lists and ta­
bles o f correspondences, items, consum ables, and substances that are intrin­
sic to our arte. It also consists o f item s cathexically invested with spiritual
and em otional m eaning. Everyone should read the literature and study the
established correspondences in a variety o f sources, but to be honest I use
what works for me and skip the rest. I use what my Spirits have told me they
like, what speaks to my own inner sym bolic language, and what has proven
effective over time. Not all o f these sym pathies match accepted conventions,
and 1 really have no problem with that. A m ong the things that have proven
invaluable in my work with Death and the D ead are as follows: Red Ochre;
Myrrh; Frankincense; Copal, both black and white; Sage; Tobacco, includ­
ing a nearly extinct species grown at a local historical site in their heirloom
garden o f plants cultivated by the Ancients; C orn Meal; Bread C rum bs; Blue
Corn; food and drink items; material items I actually value and will m iss
in sacrifice; A nim al Parts; Soil o f a given origin I shall not nam e in print;
items once belonging to departed loved ones; Dried Flowers collected from
funerals; and any o f a variety o f tools and cathexic items useful to specific
operations. As a matter o f personal taboo an d honor, I do not pour alcohol
as libations on the Earth out o f respect for Indigenous A m erican Spirits o f
the D ead and those currently strugglin g with alcohol abuse.
Even if we do not actively believe in reincarnation, the act o f attem pting
to rem em ber past and future lives is a useful practice. If nothing else, it a f­
fords insights into your own im agination and inner worlds. Helping others

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 I n T he G ard en O f B o n es

d o the sam e is equally rew arding. A s noted earlier, I like to think o f m yself
as the reincarnation o f Alien Bennett. I really don’t care how m any others
m ight also think o f them selves likew ise connected* or that hold me for a
fool for th in king so myself. O ther past life rem em brances o f note are an
Egyptian Scribe and an adolescent Pictish hoy killed by V ikin gs in a raid on
his village. The latter w as rem em bered in a sentence finishing session after
an intim ate ritual I shared with a coven-mate. He w as the V iking that killed
me. and no m atter even if that experience was im agined, it afforded us a
m eans to attend to our lingering differences.
R eading O m ens* Portents, and Presages are staples o f Witchery, as are
D ivination, Scrying, and various m ethods o f C om m u n icatin g with the Spir­
its. It is in m y opinion that the term “ N ecrom an cy” best describes com m u ­
nicating with the Spirits o f the D ead. R eading om ens and receiving presages
o f upcom ing departu res o f people we know and love is problem atic enough
to constitute a curse in my estim ation. For a very long tim e I counted this
am on g som e the m ore debilitating curses that I carry, D eep Em pathy being
another. I sim ply had no idea what to do with such inform ation and lan ­
guished in torm ents over it for m any years. For a long time, I alternately
tried to deny my gift or struggled sim ply to cope with it with no help in
sight. Eventually, J accepted it as a responsibility to prepare the way for m y
loved ones and help them from across the Veil. They have more than once
returned th ose favors from their side o f the fence by helping me. I have never
told anyone that I saw an om en o f their upcom ing death, i have on occasion
shared it with intimately trusted m em bers o f my m agickal inner circle. Peo­
ple are som etim es frightened by this sort o f thin g, even m agickal people, so
I now share m ore sparingly.
C onvoking with Death and the D ead an d trafficking with the Spirits o f
the Underw orlds is a m atter again o f nature and nurture. Not all techniques
will work equally well for everyone, and it behooves us to explore as m any as
possible, or deign to fashion ou r own, if we intend to becom e conversant in
the essences o f N ecrom ancy and the arte o f diplom acy between the worlds.
Before every ancient and elaborate technique is dug up and plundered in
the search for knowledge, we should all consider the sim ple w isdom o f just
plainly and clearly talking to the D ead whenever an d however we encounter
them, and then just patiently an d attentively listening with all ou r senses.
A ttending with keen aw areness to o u r own oneiric adventures and active
inner worlds is another im portant aspect o f this sim ple wisdom.

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A s a matter o f course in the unfolding o f the prom ises o f the M age o f

W orms in the G nosis and Convocations o f our A ngel-D aim ons, we are
afforded opportunities to enter into intimate relationships with Fam iliar
Spirits. The term “ my Spirits'1as I use it entails Fam iliars, Helpers, Guides,
Angels, Dem ons, Spirits o f the D ead, and gods. In the matter o f Fam iliars,
whether Abremelinic or Sabbatic, the Sham anic undertones should be not­
ed. Harking back to tim es before a third o f the angels descended, Spirits
o f the Tripartite Sham anic Universe were the HGA’s o f practitioners. Those
Spirits brought the visions o f essential uniqueness to the human beings that
forged com pacts with them. For many today this has not changed. Som e
Fam iliars by their natures, like people, are better at working with the Dead.
My own totem is populated with Spirits that resonate with m y Scorpionic
nature. Som e o f the more m asterful ones are Owl, Crow, and Serpent, but
Fox, Bear, Hawk and Heron also have som ething to offer in my work with
the Dead.
Enlisting the D ead to our workings is a matter that I have held some
ethical m isgivings with, particularly according to the im perialistic m eth­
ods o f grim oiric tradition. I happen to think o f the Spirits as persons, and
I don’t com m and, threaten, im prison, or enslave hum an beings out o f my
own nature. I actually adhere to the Silver Rule as much as possible, and this
includes my interactions with the denizens o f the unseen worlds, all o f them,
even the infernal and demonic. I use what 1 call “M artial M agick” on those
Spirits that prove they do not hold the same ethics that I do. It is the sam e
ethics I use with hum an beings that violate my will. In spite o f my reluctance
to use m ethods acceptable to som e practitioners, 1 have in fact obtained the
cooperation o f the Dead in my workings. A m ong the most surprising allies I
p ossess is a literal arm y o f road kill. For probably twenty years I have uttered
the words “go free, my relative” every single tim e I see a dead anim al on the
side o f the road. The first time they cam e to my assistance w as a tearful event
because they com m unicated their gratitude to me.
O thers may not agree, but am ong the more dangerous work with the
Dead in which 1 have engaged seem s to me to be acting as Psychopomp and
Sin Eating; the latter 1 have only done once and suffered greatly for, even
though it was for a loved one. Possession an d offering a house for the Dead
in our flesh are not so nearly as dangerous as the previous two, in my view.
Som e Spirits just don’t want to be shown the door out o f the Near Ethereal
and have found for themselves techniques and non-human allies to affect

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that desire. Som e are in the employ o f or “worn” by non-human entities

considerably m ore powerful and dangerous than suspected. Som e departed
Spirits are sim ply dangerous on their own. Some Spirits that seem to be dis-
incarnate hum an beings actually turn out to be posing as the once-living for
their own agendas. In any event the danger com es from protracted conflicts
while unprepared, and unpleasant m anifestations, including loss o f life en­
ergy physical and mental illness. Caution is strongly warranted.
Contem plating and m editating upon our own departure from the daylit
world o f the living is invaluably useful as is figuratively and ritually deflesh-
ing and vivisectioning ourselves in the processes ofG n oth i Seauton and Neti
Neti. In preparation for the unfathom able Ordeal o f com ing to the gnosis o f
our truest selfness, a variety o f well-known approaches and operations are
available. Individual natures dem onstrate that m ileage will always vary in
the use o f technical arcane processes and rituals prepared by others. While
the m asters have left us paths to follow, the better ones in my opinion have
insisted that we should cut our own paths through the jungle, and assured
us that None may know the path by which we com e to our own hidden gods.
Not often enough noted, som etim es that includes us as a matter o f the whol­
ly unearned gifts o f grace.

S p r it G a t e C o n s e c r a t io n R it u a l

A ritual for the establishm ent o f a Spirit Gate - A Spirit Gate may be used
as a local entry point for Spirits o f the Dead and Underworld, an exit in
the work o f acting as a Psychopom p to our own Dead, and a doorway for
our own Sabbatic excursions. It draws inspirations from the Egyptian False
Door, the “Gate o f Death*’ o f the Seductress o f the Dead Sea Scrolls equated
with LILITH , and naturally occurring Spirit Gates 1 have encountered in my
landscape. I was first introduced to the practical efficacy o f such construct­
ed gateways by having to deal with one abandoned by another practitioner
at the home o f a lover. That the vector o f this portal closely aligned with a
naturally occurring gateway in her closet set up an unpleasant situation that
looked in the Oneiric Realm som ething like a Spirit Highway over her home
with an exit ram p to her closet.
I am not asham ed to say that what is presented here is not precisely how
I created and feed my own Spirit Gate, but suggest that it will serve as a suit­
able basis for any creative or practiced occultist that wishes to utilize it in
his/her own practices. Caution is warranted. O pening gateways for things
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 Bra d ley A llen Be n n e t t

we are unprepared to deal with can bring bad times, to say the least. Gates
no longer in service should be ritually closed and earthed.

Location
A suitable location for a Spirit Gate is any two solid upright structures that
look like jam s in a doorw ay but are not part o f a m undane door, gate, or
archway that receives frequent foot traffic in the world o f the living. Exam ­
ples - a trellis arch in a location in a garden that is not often walked under,
two poles erected for the purpose, trees, or an indentation in a structure that
is not actually a doorway. M ine is constructed between two trees in front o f
my hom e in a location that people do not regularly walk.

Materials
Chosen ritual garb, tools, and auspicious tim es according to will, but night
tim e seem s to work best. G ather in advance two “firebrands”. Two candles,
torches, or lam ps can stand in. C onsum ables needed are: Sage; Fum igation o f
M anna (Frankincense) & C opal (black for Death, white for the Dead); ^Spe­
cial Earth*; Water; Offerings o f Food & D rin k consistent with the num ber o f
Spirits called plus one for the Dead. A censor or sm all container, as well as
self-lighting charcoals, are needed for your incense. Water is best brought to
the site in a sm all corked bottle. The food offerings can be w rapped in crepe
paper or cloth. If cloth is used, remove from the location afterw ards. Toast
with honey is sufficient for offerings, but bring what your Spirits require.

Preparations
A good working relationship with a Spirit o f the C rossroads, Lim inal Spac­
es, or Underworld is necessarily a pre-requisite o f this sort o f working.
G ather m aterials well in advance and consecrate them to the specific use
o f the working. A sin gular portable kit m akes for convenience. Insure via
prolonged observation o f your chosen location that you will not likely be
disturbed during your work.

Temple
Lay out m aterials and chosen tools for convenience or auspicion according
to will. Establish ritual space-tim e according to will.

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 In T h e G a r d e n O f B o n e s

Announce
“I a m _______ , com e to this chosen place and tim e to establish a lasting
gateway between the worlds o f the Living and the Underworlds. 1 do this for
and by my will as a diplom at between the worlds, and for the health o f my
people on both sides o f the Veil. I shall faithfully attend to this gate and close
it respectfully should I no longer require it.”

Invoke
The following is an exam ple only, use your own Spirits:

"JO, H EK A TEf M other o f all Crossroads, Saffron-clad

Queen o f the D ead, First o f all Witches which ruled before
the gods o f Olympus. Keeper o f the Keys, Lighter o f the
Ways o f the Underworld, Faithful Guide o f the Path fo r lost
PERSEPHONE. Invincible Titaness, Nocturnal One, Lover
o f Solitudes, / call your nam e fo r no idle purpose. 1 beseech
thee attend unto these my rites. I call thee an d adore thee.
1 call thee come; grace me with thy presence, thy fav o r and
assistance. Cornel*

<cAccept this humble offering, Ungirt One, Lady o f H o u n d s”

Place your first offering.

Perform
Light and use the Sage to cleanse the periphery o f the gate.

"By this smoke / prepare agatew ay between the worlds.”

Light the charcoal in your censor or container. Taking the Earth, outline
the sill o f the gate. Say:

"By this loam o f the Earth, by the bones o f my ancestors, by

the bed o f the ever-sleeping, I consecrate this gateway between
the worlds ”

Taking the bottle o f water, outline the jam s. Say:

"By this blood o f the world, by this the elixir o f Life and Death,
I consecrate this gatew ay between the worlds ”

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Place Fum igation on charcoals. Light the Firebrands. Say:

“By this the light o f the Keeper o f the Ways o f the D ead, and
the Paths o f the Underworlds, 1 establish this gate between
the worlds
Wave the fire over the jam s and upwards towards the lintel above your
head. Place them at either side o f the gate.
T aking the censor, outline the sill, jam s, and lintel. Say:
“By this Fum igation I consecrate an d establish this gateway
between the worlds, by the power and favor o f the M other o f
the Underworld / make a Way fo r the Spirits.”

Protectively outline the gateway from left to right, then from right to left
and lastly from the top o f the lintel down the center, envisioning the split
o f a double door. Step forward and rend the Veil, open the doors outward
towards you. “A ShA !”
*7 open the way between the worlds fo r my will and my
work. A Sh A !”
“Spirits o f the Ancestors, l have opened a way! Spirits o f the
D ead, I have opened a way. Mother o f the Underworld, I
have opened a way. A ShA !”

Utter your own words o f power. “A ShA P M ake the sign o f silence or a
closing sign according to will.

“Ancestors, 1 bring you a gift.”

Place your last ottering.

Thank the Spirits called in the rite, and offer license to depart.

Closing
C lose temple according to will.
Collect your kit. Leave the Firebrands to go out on their own and collect
later. Leave the door open.

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 In T h e G a r d e n O f B o n e s

Attendance and Upkeep

Watch the Spirit Gate and vicinity for activity. M ake offerings to the Spirits
at the Gate. C lose the d o o rs a s needed. D econstruct an d earth the G ate if no
longer needed, you move, or too much trouble com es through.

E P IL O G

“ W hatever you can do, or dream you can, begin it. Boldness
h as genius, pow er an d m agic in it.” — Goethe
I think o f m y self as no great inagickian. M y success-to-failure ratio is p ro b ­
ably som eth in g ap proach in g that o f E dison with the light bulb an d my in ­
ventions a s equally “ borrow ed”. I graciously acknow ledge that ju st about
whatever it is that I hold talents and learnin g in there is som eone out there
much better at it than me. The sam e is true for m y natural endow m ents. I
can at tim es be an oblivious fuckup, to be sure. W hat I don't capitulate to is
that any o f th is m ean s I have nothing worthwhile to say or share with the
world. Som e o f that sh arin g is precisely the sort o f fuckups that seem to me
to be shared too infrequently in polite occult society.
W hile visitin g a frien d ’s house for the first tim e for an ecstatic d ru m ­
m ing circle, I discovered a fascin ating scu lptu ral shrine on his property.
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After m any rounds o f disappearing into the rhythm s and chants o f the cir­
cle, and much sacram ent, 1 went off to water the woods. There in the dark­
ness stood this roughly eight-foot-tall tower o f bones in the dim moonlight.
I was im m ediately seized by a presence and rem em bered in fact seeing this
shrine in a dream . It held a m essage for me I w as certain. I did my business
and before leaving told it I would be back with an offering. W hen I returned
with a handful o f tobacco, I stood and soaked in the energy pouring off o f
it, told it I was there for a m essage like I saw in the dream , and called upon
the nam e o f TH A NATOS. 1 stood for a bit but nothing changed. There it was
pouring out its cold and jittery energy, but no m essage. I thanked it and went
back to the circle.
A s oblivious as I can be som etim es what happened next is truly unchar­
acteristic o f me, or 1 would like to think. The gathering that I was attending
was at a place called Frog Holler on the leeward side o f Peach M ountain.
The presence o f m oonshine at these events is not at all unheard of, and I had
just had som e the last tim e I was out to Peach M ountain. A bottle was being
passed and talked over. I reached for it, and it was handed to me am idst what
I thought to be jokes about not drinking it. By this tim e I was quite inebri­
ated, and it took what felt like an eternity to get the bottle open. 1 was going
to be dam ned if anyone kept m oonshine from me. A s 1 do with m oonshine I
took about a quarter o f a m outhful, swished, swallowed, and inhaled for the
burn. It burnt just like the goo d stu ff going down but had an awful aftertaste.
I thought to m yself that a lot o f fuss had been m ade over o f the worst batch
o f shine I’d ever tasted. I was prepared to tell my host ju st how much like ass
his d rin k really tasted. It was then that it was brought to my attention that
what I was holding was tiki torch fluid, again am idst much laughter. N o one
believed I had actually drunk any o f it, and I had to assure them that I had.
I also assured them that I was not going to die, that it was ju st like the snake
handlers drinkin g strychnine. I washed it down with lots more beer and
water, and a couple o f hours later found I was surprisingly sober. The only
ill-effect I noticed was an awful taste when I burped.
I chose to drive home. In route as the poison began to overtake me,
I tried to recall what the poison control protocol was for petroleum items
from my tim e as an EMT. I knew that it was either to induce vom iting or not
induce vom iting—a 50-50 shot to get it right. Eventually I had to pull over to
the side o f the road as I was actually losing consciousness, burning up and
sweating profusely, and convulsing. I got out o f the van, and lay on the side

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o f the highw ay th in kin g I would probably lose con sciousn ess, asp irate on my
own vom it, and die. I hoped that only som eone would stop an d save me. I
decided I w ouldn’t vom it an d that took all the strength I could m uster. It was
then that I got the m essage that I had m ade offerings for. It w as som eth in g
like this:

*Tm D eath , you d u m b ass! You don't fu c k with me> a n d you

don't fu c k arou n d with y ou r life! G et up o ff y o u r a ss a n d live!
Love the people you love with all yo u r heart! The clan you're
with is the one you've looked fo r over lifetimes. D o the things
you have dream ed o f doing! Take no care for how you will do
them, ju st do them , because 1 can take you at any time an d
you'll never see me com ing!”

M om en tarily I cam e back aroun d, shook violently in a cold sweat for a

while and got in the van an d started tow ards hom e again . Then it all d ro p p ed
into my bow els like a lead ham m er. I had to stop at a truck stop and p ro fu se­
ly shit my guts out. That d irty bathroom sm elled like a refinery when I w as
done. I feared som eon e w ould com e in, light a cigarette and blow the place
to pieces.
W hen I got hom e I called the P oison C ontrol Center and got the skinny.
The operator actu ally laughed when I answ ered her qu estion about how I
cam e to d rin k tiki torch fluid. Evidently h earin g about m oon sh in e w as ju st
too m uch for her com posu re. W hat [ found out after all the lau gh in g was
that 1 had m ade the right call. Those that vom it m ost often die, o r suffer such
terrible lung d am age sim ply from the fu m es that they w ish they had.
This w as m y th ird near-death experience. All o f them have held m ean ­
ingful m essages an d insights. It is also a ru n n in g jok e on Peach M ountain
that d issolves into silent contem plation when 1 count coup on D eath in the
circle and recount the m essage I received. Then we go back to the sacram ent,
d rin k s an d d ru m s and laugh o u r a sses o ff together. That I had a 50-50 shot at
th is big boner being laughed over at my w ake is a fact that is not w hatsoever
lost on me.

A n O p e n L e t t e r P e r t in e n t t o t h e S u b je c t M a t t e r

Beloved Souls on both sid es o f the Veil,

In the process o f laborin g over th is essay on D eath an d the D ead, a per­
so n I have know n for m any years w as killed in a car accident. She w as a
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member of my p artn ers coven for many years, and a friend o f the family
for m any years before that. 1 did not particularly like her, nor dislike her
intently. She was a feature o f my social landscape. She was a unique individ­
ual with strange quirks and habits. She made no qualm s about being herself
whether anyone liked it or not. We had our moments together, some laugh­
ter-filled, and some attended by harsh words.
She wasn’t the sort to wear a seatbelt, nor was she the most attentive
driver. The roads were icy that morning. Records show that she was on her
cell phone not moments before the accident. She lost control o f her jeep, it
rolled, and she was ejected from the vehicle. She was killed instantly. Her
five-year-old son survived the single-vehicle crash without injury, and re­
members everything. His words in recounting what happened were these:
“The car rolled, and M om m y flew out the roof and landed on the ground.
They tried to wake her up, but she didn’t wake up.”
In spite o f the fact that I didn’t go out o f my way to spend time with her,
her departure from the world has touched me deeply. She will no longer be a
feature o f my social landscape in the daylit world, and yet she has returned
to the fabric o f unseen reality which 1 attend to m ost intently.
As much as Death and the Departed are features o f Witchcraft and all
traditions throughout history and around the world today, it is also an un­
avoidable feature o f the m undane human condition.
Death is no respecter o f persons. Death cares not what religion or magick
you practice, if any at all. Death is a watchful and inevitable equalizer. Death
brings the lofty down low and lifts up the downtrodden. None escape Death.
None are untouched by Death. Death should be a constant reminder of our
limited time here and an instigator to cherish every moment, no matter
whom we are with or what we are doing.
In spite o f the constant reminder of living fully that Death represents,
most o f us will be unaware o f H is shadow falling over us. We will m arry and
be given in m arriage. We will eat, drink, and fuck» in abandon. We will revel
together and sulk in loneliness. We will have children and raise them. We
will run the rat race to survive and aspire to have more o f all that is good. We
will laugh and cry, and bitch and moan...and Death will take us all.
As a matter of my own personal taboos, I only speak the names o f the
close dead on special occasions. Old poets and occultists don’t get that honor
in my daily practices.

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 In T h e G a r d e n O f Bo n e s

Jessica Howard, A suka in your craft, first ancestor o f Trinity o f the Sa­
cred Spiral Coven, go free my relative. Find the Sum m erland soon. Visit
Lyric often and com fort him , for he will sorely m iss you in his life...

NO NE bequeaths Life,
LVX - X td a - NOX - EiScoXo Bradley Allen Bennett Two Crows

This work is one in a series which will further uncoil VIGEROS into the
present space-time.
Bradley Allen Bennett considers him self a Dabbleristcc above any other
m agikal descriptor. What orders he may or may not hold membership in is
secondary to his work, which is meant to speak for itself. He lives in rural
southwestern Ohio with his little family, growing number o f cats, and a host
o f unruly Spirits.

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 D e a t h M a g ik A n d T h e P sy c h ic
S p ir it u a l N a t u r e O f R e v e n g e
Dante Miel

L
et us c la rify something before we dig into this chapter. All o f the
nonsense that one reads and hears about in the fluffy, pom pous and
self-righteous diatribes o f the Wiccan white light, new age, neo-pa­
gan movement about whatever one does comes back to them threefold is
a flat out lie and complete bullshit. There is zero evidence to support these
outlandish claims. This threefold rule of witchcraft is an affront to any true
magikian who is not afraid of their own true and complete nature, which
includes their dark side. Nor is magik for those who are afraid to explore
the realms of the shadow side of the human consciousness. Any and all at­
tachment to religious death magik and the infernal-psyche-spiritual nature
o f the darkest most sinister side o f ritual and ceremonial magik is presented
here for informational and educational purposes only. Neither the author of
this book, nor the publishers, or the editors, claim any responsibility as to the
nature o f this work, nor its contents, or any o f the repercussions which may
result from its usage. Death magik spells and rituals meant to bring about
either the death or severe pain or sickness in another individual has many
cross cultural references to the actual practices of such forms of magik.
The psyche-spiritual nature of revenge is based out o f the rage of ones
feelings towards another person, or persons, for acts that the magikian
deems to be unethical and leaves on es self feeling wronged. Since there are
no real legal definitions of metaphysical nor meta-magikal acts which result
in the harm or death o f another human being, it is incredibly difficult for a
person to even hire a lawyer to take the m agikian to court over such acts.

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But each individual is fully responsible for looking into the legality o f such
actions in the law o f their own country, state or province, etc.
The m agik al practices and rites o f self-initiation in this chapter, an d in­
deed this entire book, draw upon m any varied literary works from a m ul­
titude o f cultures. Be they ancient, m edieval, or o f the aeonic stream o f
m odern-day m agik. The m ost pop u lar aeonic current, within the m odern
day context o f the occult theater is that o f Aleister Crowley and the aeon o f
Thelem a. The second aeon that followed that o f Aleister C row elys Thelemic
current w as the aeon o f M aat, founded by C harles Stanfield Jones.
Black m agik is m ost often con fu sed with, or identified with, rituals and
spells m eant specifically to bring harm , bad luck, ill health, and even death
to the receptor. Any form of m agik is considered evil and the work o f the
devil in the eyes o f devout C h ristian s and other religious fundam entalist
believers. This is pure bullshit. C ertain precise techniques and philosophical
approaches to m agik contained in this book are black m agik in the com m on
sense o f the term. They are created and carefully designed to align one's se lf
with dark and infernal, vengeful and dangerous m eta-m agikal entities.
The true nature o f black m agik, how it differs from white m agik, and
even the beliefs and practices o f com m on religions them selves has been dealt
with elsewhere. Be they w ithin the pages o f this book or other scholarly and
literary w orks w ritten by students o f religion, philosophy, and even m agik
itself. To follow through with a spell m eant to cau se harm or, even more in ­
tensely, that o f death m agik itself weighs upon the soul. M agik m eant to sp e­
cifically bring about the death o f another hum an being, to an enemy, is not
to be taken lightly in any way, shape, or form . These are ritual acts o f m agik
and spells specifically m eant to ruin other peoples’ lives, by m ean s o f harm ,
illness, and even death. A s far a s com m on law is concerned, it is difficult to
prosecute a person for c a stin g a ritual spell that results in the injury or death
o f another hum an being. This d oes not, however, m ean that the m agikian
is completely free o f repercussions from such ritual acts and spells. Bring
about a fundam ental shift from within one’s own psyche, an d that very sam e
psyche will, by default, bring about a fundam ental shift in one’s self-aw are­
ness an d cosm ic, psyche-sexual-m eta-m agikal nature.
A s with any form o f m agik, one m ust have a com plete an d solid grasp
o f the nature o f the w orkings, but also a firm un derstan din g o f one’s own
ability and com m itm ent to the rituals and spells. The m agikian m ust, as
a rule, be w illing to take full responsibility for any outcom e, which m ay

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result from such form s o f dark, harm ful m agik—especially when it com es to
death m agik. If the m agikian isn't 100% clear with their intent and objective,
harm or death may fall upon other people not specifically meant to be pulled
into the m agikal vortex created. There are stories floating around, wrhereby
a family m em ber or loved one is struck down and killed or perm anently in­
jured because the m agikian was not 100% clear on the nature o f the desired
outcome o f the curse.
Some o f the rituals and spells contained in this chapter are not to be
taken lightly at aLl, especially those rites involving the Petro Voudon spirits.
They require blood. It is im perative that you, the m agikian, take full respon­
sibility for your actions. Spirits requiring blood, and freshly drawn blood at
that, will bring great m isfortune and horribly terrifying, vivid nightm ares
for longer than what most people can handle. Unless you are willing to take
all o f this on, I strongly suggest that you first seek out a true Voundon Priest
or Priestess before following through with any o f these rites or rituals.
The Voudon rites contained in this chapter are all based on the Pet­
ro rites, and upon the more intense and even more dangerous rites o f Palo
Mayombe. It is the responsibility o f the author and publishers to give good
and fair w arning not to perform these rites without first consulting a true
and bonafide Palero or Petro Voudonist. W HY?
Death m agik is not anything to take lightly, in any way, shape, or form.
Death m agik implicitly im plies that one is both willing and desiring to kill
another hum an being. Point b lan k...th is is heavy shit. Be willing to sacrifice
your own well-being, and possibly your own life, which may happen if for
any reason any of the rites, rituals, or spells backfire. Basically, do not do
this unless you are completely and fully willing to face these consequences.
This is purely for inform ational and educational purposes only. As a
side note, it is very unlikely that any o f these spells or rituals will work for
the neophyte or novice practitioner, nor for those who are not entirely one
hundred percent sure or completely dedicated. The rites, rituals, spells, and
tribulations contained in this chapter are all explicitly the darkest and black­
est o f all form s o f m agik. The spirit seals and sigils, or c4veves,,‘ as they are
known in Haiti, are m ainly dangerous spirits to work with. Som e o f the oth­
er forms or ceremonial functions contained in this chapter are based on the
Ancient Greek M agical Papyri, Greek and Roman binding spells and curses,
and have been adapted to suit the functions o f this study from the works o f

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Steven Flowers’ Hermetic M agic. To the initiated, the sim ilarities between
these form s o f m agik will be clear.
There are two distinct stream s o f the Hermetic tradition as it functions
in the world today, both o f which have their origin s dating back to antiquity.
The first o f which is the philosophical stream as contained in the Herm etical
literature, m ost o f which dates back to the m edieval era, and is exemplified
in the som ewhat contradictory and at tim es made up cerem onial m agikal
rites o f groups, such as the various groups claim in g to be the true repository
o f Herm eticism . This is not o f any real concern to the pragm atic and post­
m odern Typhonian m agikian. W hat is o f significance to the actual practic­
ing m agikian is to get a firm grasp on the actual form and function o f this
form o f pragm atic hermetical m agik. O nce one has done the self-initiations
into the true Typhonian form o f m agikal operations, then they are able to
adapt The Greek M agical Papyri in Translation (see H ans Detier Betz) to suit
their own intuitive needs.
The self-initiations o f ancient G reeks and Rom ans, and the true original
stream o f Hermetic m agik, will be extrapolated upon within the context o f
the practicing m agikian as opposed to a strictly scholarly one. For the m ost
scholarly work on the true H erm etic path a s practiced by the ancients, I
refer the sincere student firstly to Steven Flowers’ Hermetic M agic and Don
W ebb’s The Seven Faces o f D arkness for insight into the Typhonian Herm et­
ic m agikal current. For a strictly historical collection o f the actual ancient
Greek and Rom an tradition, 1 refer the student to Ihe Greek M agical Papyri
in Translation by H ans Dieter Betz, and Curse Tablets an d Binding Spells o f
the Ancient World by John G. Gager.
Firstly, let us begin with the self-initiation rites into the true ancient
m agikal Typhonian current as is updated for the m odern-day m agikian. The
hermetic tradition has two separate m odern-day versions. One is that o f the
philosophical branch, upon which the Hermetic O rder o f the Golden Dawn
and other m odern-day m agikian s focused upon. This O rder was a hodge­
podge o f separate system s, which at tim es w as more confused than direct.
Then there exists the actual pragm atic and practicing branch of the true
ancient Typhonian branch of Herm etic m agik. Now let us get into the actual
nature o f the Typhonian pragm atic current.
For this you will need one special cerem onial stone, four red bricks,
and a sheet of genuine papyrus or true parchm ent paper. If these are not
available, try to get som e paper made o f the palm tree, or other form o f

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handm ade paper» as these will suffice. Black and red inks will be necessary.
For ‘Ink o f Black M ag ik ’, India ink will suffice along with the addition o f
crushed blueberries and blackberries and with d rops o f your own blood
added to forge a connection between you an d the ink. Next, you will need to
m ake the ‘Ink o f Typhon*. Take up red berries and a pom egranate, and soak
these ingredients together with cooked artichoke and m ashed up purple figs.
Add several drops o f your own blood to th is concoction, and then strain out
all o f the solids. The am ounts o f each individual ingredient will have to be
felt out and brought to your own desired darkened blood-reddish color. I f
you are going to be doing this with or for a w om an, then have her add som e
o f her own m en strual blood to the ink. Store each individual ink inside its
own sm all glass jar that is as air tight as possible. M ark each individual ink
as thus. M ake sure to use only fine camel or horsehair paintbrushes or a real
feathered pen and quill.
Take red bricks and place them together, carefully placed side by side
as to form a basic altar. This is the basis o f your true ancient Herm etic Ту-
phonian altar. Have at your d isp osal a fresh red onion, sheet o f papyrus or
natural paper as described before, and a thin, sm all piece o f flexible sheet
m etal, and a stylus for engraving into the sheet metal. Gather dried grass
or fresh g rass and allow it to dry completely. A lso gather a sm all am ount o f
clay along w ith nails and sturdy, yet thin twine. You can use cloth, a sew ing
pin, and twine instead if that is your preference. These are the m akings o f a
binding spell based on the ancient G reco-R om an tradition. It is always best
to bathe ju st prior to any rite that you are going to take seriously.
C arefully lay out a black cloth upon the floor. Place the red bricks side by
side in the center. Burn black and red candles for light. M ake sure that there
are no electrical distractions, such as the sound o f telephones or cell phones
ringing, refrigerators hum m ing, or other electrical noises. Be sure to turn
o ff all electric lights. Have all the necessary ritual items d o se at hand. Be
clothed in clean black linim ents or robe. Pace upon the alter a representation
o f Typhon-Set. Inscribe upon the thin piece o f sheet metal as explicitly as
you can your intentions, an d give thanks and blessings to Typhon-Set. Wipe
it with the inks and roll up the metal, and then seal it by pou rin g upon it
both black and red w ax while calling out your will to Typhon-Set. Set it upon
the altar. Burn incense o f spices, frankincense and myrrh. Pass the rolled-up
m etal binding spell or curse spell through the sm oke o f the burning incense.

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N ext, take up thy papyrus (or other natural paper substance) and care­
fully write out the precise desired outcom e o f the m agikal w orking with the
in k s that you m ade. Be sure to give th an ks and to call upon the energies o f
Typhon-Set an d paint their n am es upon the paper, along with the curse or
b in d in g spell. Take up the clay and form out o f it a replica o f the intended
victim with their arm s an d legs bound together with the twine. Im pale the
nails into the body where you want the pain inflicted. W rap this up inside
o f the m etal curse tablet. O r do the sam e with a sm all figurine m ade out o f
fabric and stuffed with straw or dead grass.
With a piece o f the papyri paper, write the speLl again. Slice an openin g
into the red onion, fold up the curse/spell an d carefully insert it within the
onion. D rip black an d red wax upon these, bury them outside beneath the
dirt d u rin g either the full or w anin g m oon and dem an d that the spirits o f
nature devour these item s ju st as the natural world, an d Typhon-Set will
bring about the curse or b inding spell into being. Be sure to give sincere
th an ks unto Typhon-Set and to all o f the nature spirits helping you to carry
this cu rse through until its end.
Finish up by givin g utm ost graciou s th an ks to the Beings and Spirits,
who assisted you and will see the curse through. Then put the bricks away
out o f sight for another tim e, carefully w rap up the black cloth and all oth­
er m aterials and place them som eplace safe where no one else will see or
touch them.

P o in t in g T h e B o n e

This is strictly for inform ation and educational p u rp o ses only. N either the
author nor the publisher can be held accountable for any action s that any
in d ivid uals m ay take based upon the inform ation in this essay.
Pointing the bone or bone pointing, as it is also called, is an A ustralian
A borigin al death curse ritual. It is believed to never fail. W estern perspec­
tives on the occurrence o f death as a result o f this ritual consider it to be,
when effective, brought upon by the victim psychosom atically. M ore often
than not the bone used is a hum an bone but can be a kan garoo bone or even
a piece o f wood.
Stran d s o f hum an hair are inserted into a hole in the back o f the bone
and sealed in place with natural plant resin. This bone is then charged with
intense psychic energies an d ritually consecrated. D u rin g the actual cursing,

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the bone is pointed directly at the targeted victim , and the sorcerers w ill­
power is forcefully projected through the bone to strike at them.
My own variation on this curse ritual is to carve an opening in the back
side o f a straight length o f hum an bone (arm, leg, or finger bone), or alter­
nately an anim al leg bone, and hallow it out. Carve a sm all hole in the o p p o ­
site end that is ju st big enough for powder to be blown through it.
In a sm all container blend together a m ix o f hum an or anim al bone
powder, finely ground herbs and poisonous plants. G rind up dried venom ­
ous spiders or scorpions and blend this into the powder. Alternately, you
can use the potion o f venom ous arachnids and serpents and sprinkle som e
o f these into the powder. Let this d ry out completely. Write the nam e o f
the targeted victim onto a sm all piece o f paper. Light a red or black candle
and ignite this piece o f paper. Be sure to carefully capture all o f the ashes
and blend them into the powder. C arefully pack this powder into the hallow
bone m aking sure to not allow any o f it to pour out o f the sm all hole in the
front tip. The stem o f a feather can be used to plug the front opening. C lose
up the back end o f the bone with natural plant or tree resin, or som e other
m ethod or m aterials can be used as well.
H andle this bone carefully so as to not allow any o f the contents inside
o f it to em pty out. W hen the tim e com es, you can use this bone to both poi­
son the individual and perform the ‘ bone pointing’. Remove the feather or
other m aterial on the front tip> point the bone at the target victim and proj­
ect the full force o f your willpower at them as you blow the contents o f the
bone in their direction. I f you are brave enough and not concerned with any
legal repercussions, you can blow the entire contents o f the bone directly in
the v ictim s face. You can use your im agination to realize the kind o f affects
this can have upon the victim .

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 -S e v e n F e e t U n d e r -
T h e H e a r t o f F ir e b e n e a t h
t h e To n g u e o f S il e n c e
Kyle Fite

The Lord o f Illusion is The Lord o f Life.

The Lord o f Reality is The Lord o f Death.
In Truth, these Two are the Sam e Lord
And Never Divided.

T
he M a g ic ia n is etym ologically a M anipulator o f M aya, one who is
not subject to the Law s o f an Illusory U niverse but rather a M aster
o f them. H e is the M illstone and not the G rain. A s such> he operates
on the periphery o f average hum an experience while shifting the sam e with
aid o f an arte incom prehensible to the m aterialistic m ind. It is a rom antic
picture and one which is easily m isunderstood if these factors o f Illusion
and Power are viewed through the Limited lens o f Life. W ithout equally en­
tering an aw areness o f D eath, the M agician can have no contact with the
Reality em pow ering his creative usage o f Illusion. To sim ply conceive o f this
“O therw orld” is not enough. O ne m ust link it to Life through the vehicle o f
o n e s Experiential Entity. This link is the result o f a Deep Initiation, and one
which will forever transm ute the Vehicle through which it is accom plished.
Life and Death are often polarized via an inherited Aristotelian Logic.
Either a th in g is “Alive” or a thin g is “ D ead.” It cannot be both. A s Life

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is understood as p ossessin g certain qualities (such as activity, awareness,

grow th an d so forth), Death is defined by the opposite characteristics. This
creates a problem in that Death is being viewed from the standpoint— and
logic— o f Life. O ne can only presum e that these im agined qualities (or an ­
ti-qualities) have som e sort o f reality. In other words, one is applying a sim ­
ple form ula based on assum ption, the sam e being born o f very restricted
experiential capabilities. An exam ple would be the acceptance that "grass
is green/* It is how it appears to you and how it seem s to appear to everyone
else. The type o f perceiving/categorizing faculty at work here has also been
known a s crucial to one’s sim ple survival in the m aterial realm . Through
various sym bolic signals, one takes courses o f action which benefit the play­
er in the hum an gam e. Logic, experience and hard-wired biological im pulse
all conspire to ju stify the conclusion "g rass is green ”
As we learn m ore o f the natural world, however, we soon discover that
there is no inherent or absolute "color* in the phenom ena we observe as
grass. We then accept the experience in context o f concepts which are sim ­
ply extensions o f the initial logic, experience and im pulse. The m ean s by
which we determ ined that "grass is green" are the m eans which determ ine
that “grass is N O T green." Regardless o f viewpoint, the “ is/is not*’ dich oto­
my prevails, the A ristotelian Law o f N on-C ontradiction. And this extends
into our understan din g o f all phenom ena, including what it m eans to be
alive or dead.
From this dualistic perceptive habit, we m ake an assum ption and re­
act to it. W hether one em braces the idea o f an afterlife or infinite oblivion,
one is left to interface with reality through the tools o f engagem ent at o n e s
disposal.
We observe m any pu rportin g to know this or that about death and what
awaits the hum an entity who has succum bed to biological term inus. Even if
we hold specific religious views on the matter, we are inclined to discount the
sim ilar views o f others which do not fit our theological fram ework (again,
the Law o f N on-C ontradiction is clung to). Thus, the C hristian is suspicious
o f the M uslim account o f the afterlife, even while both profess certainty o f
the sam e.
The question, then, is W H AT can we TRULY know o f Death while Liv­
ing? And HOW do we even begin to explore this realm which seem s to be
entered only by the sacrifice o f the se lf which seeks it?

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O u r m odel for this process is that o f Esoteric Freem asonry which carries
through its Rite a condensation o f Initiatic Teaching from far older cultures.
The sy m bols an d “w orking tools" gathered along the way all serve to support
the great clim ax o f the cerem ony: the Death and Resurrection o f H iram Ab-
iff, M aster Builder and H eir o f the M agical M etallurgist, Tubal C ain.

There are tim es in this hum an life when we may find ourselves desirou s o f
death. Folding to frustration , w eariness or despair, we conceive o f com fort
in the covering o f o u r casket with a cold clod, the silence o f the grave hush­
ing som e unbearable assault upon o u r psyche. W hether this closing o f the
curtain opens to a calm in g cloudscape past pearled gates or sim ply sign i­
fies the closure o f con sciousn ess with cessation o f brain-waves, we expect a
“ b re a k "
This hope is well played by op p o rtu n ists from every religious angle. In­
troducing the idea o f Hell (or at least tough transitions best avoided) keeps
the U ltim ate Sabbath from being a Workweek G uarantee. C on dition s m ust
be fulfilled in the eyes o f one's “ Em ployer” unless one w ants to keep “work­
ing through the w eekend" at a hated job.
Control thereby gain s a sales pitch as it sells Spiritual Insurance.
“ I f you want your respite, do T H IS (read: PAY UP-in coinage, o b ed i­
ence, societal support). O th erw ise...” (Father Pharisee w histles and shakes
his head).
This isn ’t religion. It's a ploy.
N o hum an being holds the Keys to your Beyond. The gam e as old and, i f
we ascribe to anyth ing approxim atin g Crow ley’s Aeon o f H orus, the gam e
is D O N E .
Death is not a shadow loom in g over our m ortal lives. It is an elem ent
twisted and fused into a Life o f which we are part.
Likew ise is this Life w rapped into every fiber o f D eath. This gives rise
to the Death Fetishists who o b sess—through the p o rtals o f their organic
lives—over transcendental ecstasies found through the extrem ities o f su n ­
dry "sorcerous artes,” duly dressed in gothic garb, necrom antic ornam ent
and alterations in the experience o f the bio-m achine. O n one hand, th is is
a natural inclination at a certain stage o f aw akening. On the other, it is a
retardation o f a process which m ust not be halted half-way.

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 Ky l e F it e

Life and Death are not themselves Absolutes. They are two faces o f one
coin. We do not pit Light against D arkness. These two reveal each other»
opening a m eans to g ra sp —if in part—the Reality which gives rise to both.

I do not desire Stasis. Heavens H arp and Atheistic Anesthesia both raise
suspicion in my soul. W hat might be an alternative to such views?
I am rem inded o f Resurrected Lazarus in the once controversial and
now-forgotten film 7he Last Temptation o f Christ. Before he m eets an a ssa s­
sin s blade, his killers had to ask what it was like on the other side.
He replies that it was really no different than it is H ERE.
This was N O T the answer they were expecting—and it m ade the knife-
plunge all the more easy.
We cannot accept the placid heaven o f the eternally obedient sheep or
the sim ple snuff-out of those who can see no further than their m aterial ex­
perience. But we also hunger for som ething beyond what we KNOW. Som e­
tim es we are motivated by a desire to quell fear or uncertainty. But even
when this has been put aside, there is an energetic drive, a curiosity and
need, which propels us onwards.
As long as we rem ain in light, we are magnetized towards the darkness.
This darkness, however, does not conclude the matter. Rather, it is driven
back towards the light.
We are going into the Night to return to Dawn. It is through this ex­
change that we can become more than we are. The Thesis o f Hegel leads us
to Antithesis— and this propels our hungry soul towards Synthesis, the New
Thesis, and the Next Rung on the Ladder ascending to D istant Stars.

There was a day in my life when I felt my heart seize up in my chest. I liter­
ally fell down upon the stairs and truly believed: This is IT! The END ! BIO
SH U T D O W N !
As sweat gushed from my face, my step-daughter appeared. I told her I
thought I was dying and get ready to call 911. She looked at me and said I was
being dram atic and faking. She walked away.
I felt utterly alone in that moment. 1 was going to DIE and there was
no help.
My body then began to FR EEZE. I was shaking with hypotherm ia. 1
couldn’t move save for shivering.

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And then...the ice began to turn to FIRE. I was cooking from the inside
out. I can’t describe the pain. It was as if I was being microwaved, f d later
read o f these two elemental passages in the Tibetan Book o f the Dead.
It was in that m om ent that I felt my heart cry out:
Not here! Not NOW!
I was hanging on som e World Tree and gushing anything but glam our.
I wasn’t thinking o f “ Death M ysteries” or Runes. ..I w as giving every atom
o f my being to holding onto this hum an life where I was yet needed. How
would my little son go on without his Dad? W hat o f those who depend upon
and need me? What o f all I have yet to learn* to know, to enter? 1 felt so m e­
thing o f what lack Parsons expressed with his final words:
T m not D O N E yet...”
I don’t feel that I W ILLED m yself back to life. Rather, I was given an
O pportunity. I w as touched by the Hand o f Grace and Vitality. About to
evaporate, I slid back into my Urthlife.
But I D ID see som ething on the Other Side o f that Gate, som ething I
wish to SH A RE.
We hum ans are joined through our mortality. It is to this reality I speak,
the strange paradox o f tem poral life active within eternal space. I know
many who peruse these words will never know me aside from these few
words printed on paper. Divested o f skin, bones buried in som e unm arked
grave, I extend my hand from another realm to speak to the yet living. What
I offer are sym bols and suggest ions which may serve idea and im agination as
these rise through hum an consciousness to reach beyond it.

The Brother o f O siris truly becam e such only after he had sliced his sibling
into pieces, placing each at a precise location within the Great River, the
Nile. Fourteen were the parts* one for each Day—and Night—linking S ab ­
baths (or SUN-Days). Often treated as treachery, the Work o f Set was an
Initiatory Action. On one hand* we find a parallel to the bloody betrayals
o f the Three Ruffians in M asonic Lore, those uninitiated ones who slashed
the M aster Builder into his Grave. On the other, we have the Brothers o f the
Lodge behind these figures, bringing the Candidate to the “ Rubbish o f the
Temple” where the M ystery o f the Resurrection can be given expression.
Students o f Esoteric M asonry will know that the V illains, pernicious as
they may seem , em body the Mystery o f the Lost Word, a M ystery which will
only be given to the “R aised M aster M ason” in Symbolic (or “Substitute” )
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Form . The Slayers and the Slayed are One Thing, divided for “ Love’s Sake”
and united through that sam e Power. Each K iller will suffer the Fate o f H i­
ram , thus uniting with him through K arm a. H ira m s rebirth (from three
auspicious wounds) will likew ise serve as the Redem ption o f the Ruffians.
N ote that each one o f these m urderers5 nam es begins with a “J” (or
“Y od”). Q abalistically, this letter has the num eric value o f “ 5.” 5 tim es 3 is 15,
the num ber o f the Devil C ard in the Tarot (Set— or Satan). We find here that
O siris will rise from Death as the Redeem er o f Set. If we wish to com pare
m ythologies, we see that Jesus is the Redeemer o f Satan (an idea we encoun­
ter in the M ythos o f W illiam Blake). This Redemption is m ore than a simple
act o f forgiveness—it is an A lchem ical Process, the energetic exchanges o f
which are merely typified in M asonic ceremony.
The m ost sincere and spirit-driven aspirant enters the Temple in Search
o f LIGHT. To TRU LY com e into this G nosis, the “ D arkn ess” m ust be clar­
ified. The m ost effective o f initiatory rites will strip away all that keeps this
D arkness beneath the skin. It has been written that O siris is a “ Black G od,”
and this must be realized in the total consciousness o f the candidate before
the Grave can be entered—and departed from !

M AH ABONE!
U pon the first utterance o f this strange word at the clim ax o f the M ason ­
ic Rite, the New ly-Raised M aster M ason tends to be struck by one associa­
tion: the fam iliar word BO N E.
It’s enough.
There are many com m entaries on this odd word which is often inter­
preted as m eaning “The Builder is D ead !” But this hardly expresses the fact
that the Builder has, in fact, RISEN.
M asonic Scholar A lbert M ackey m akes the observation that the correct
word is com posed o f not 3 but 4 syllables. Bear in m ind that the Lodge room
(itself a Living Sym bol) has three officers but FO U R W ALLS, the N orth b e­
ing that “ Place o f D arkness.” It is this D arkness which must fuse with a T ri­
une Life ere the two m ay becom e one.
W ithin M asonry's eclectic heritage o f diverse cultures, we may see
“ M ah a” as that prefix indicating the “G reat” or “ Suprem e.” The “Great Bone”
is the Skull, a symbol com m only connected to M asonic Ritual. This sy m ­
bol, however, holds m ore m eaning than m ost people (and even M asons) will
consider.
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Al the beginn in g o f o n e s M asonic voyage, the skull is a sym bol o f m or­

tality, the M ason being earnestly encouraged to contem plate it as a sym bol
o f all things com ing to p ass. At the end o f the Rite, it is seen as "th at which
rem ains,” the perm anent portion o f flesh life. It join s with the A cacia— or
Evergreen—as a sym bol o f continuance. There are both m oral and m eta­
physical im plications here.
In the end, the 3 D egrees of M ason ry are sewn together through a 4lh
Power. Rebirth is not as the return o f L azaru s to the Land o f the Living. It is
entry into a Different D im ension, the pow ers o f which will be carried into
one’s tem poral life.

There are no ghastly skeletons to haunt us. We carry one inside our own flesh.
I look in the m irror and fix m y hair (what’s left o f it). I catch those lines
cut into my face by tim e and turn to see which side really IS " b e s t ” I sm ile
at m yself an d w onder i f 1 still have "the charm .” And the m irror starts going
all D orian G rey...
I can see it, the “Skull Beneath The Skin.” I could put an incision into my
face and then pull it o ff—but there's no need. W hat lies beneath the m uscle
and meat is right there, peerin g out from the pores. My own personal G rim
Reaper. I clack teeth and pull my lips back. There’s his mouth. My tongue
dissolves with my larynx. D o I w ish they’d have stayed? W ithout the w ind­
pipe and lungs, they’re pretty w orth less—and I no longer have either.
I beat out a cry for help on my xylophone ribcage. M orse code begins to
take on a Congo beat. T alkin ' Effluvia Blues N o. 33. Som eone grabs my hand
and my fingers slide right o ff
My face falls o ff the chin and lands in the bathroom sink, cloggin g the
drain. No way f m goin g to work today. I'd call an am bulance but my jaw ­
bone just hit the floor. I reach down, thinking, “Sam son could kick som e
ass with this th in g” when everything ju st crashes onto the tile like a ch ild’s
building blocks.

W AKE UP!
W H Y D O N ’T YOU PU T O N A L IT T L E M A K E -U P ???

H iram help m e, I’m drag-queening my way dow n the V ia D olorosa.

I'm hexagram m ed in The Tom b, gelatinized and 100% FU BA R .

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Then here com es T H E LION! It starts as a gurgle in the sink> sizzling

my rum pled grim ace. The whole thing blows to pieces and water is spraying
everywhere. But FIRE is putting it out as steam hisses and paint begins to
blister from the walls! Between FUCK YOU and M ARRY M E, som e G od
grabs my w rist and hauls me up from Hell.
+ *• Si-

W inking and Blinking, Г т but a beaked-babe crushed into a noetic

nest. Even after I’ve taken flight and m ade my first kill, 1 have no idea that
creatures on the Terran Plane will set up temples to venerate me.
They confuse N oesis for Gnosis!
Soon I will have no care for their “Because.” I destroy their G ods, and
they grasp at my wings to set me up in the Place o f their Void.
I have no Mystic M axim to give. My neck lengthens, and I become the
Vulture, hungry for carrion.
Here is the deal, raw and real:
If you can read these words, you are in the Urthzone. This essay is d i­
rected only at the U rthbound. It is a m essage sent from a distant Planetary
System (you’ll find out soon enough which one).
Please know: this docum ent will self-destruct in ...
...what does it matter?
The Supernova o f your Sunshine is inevitable and, ergo, im minent. This
is an im portant point: the Inevitable is Im minent. So much o f your Hum an
Culture is based upon Denial o f this FACT.
The equation '‘Inevitability = Im m inence” disconnects your flesh from
bone. What wom an with drooping tits will choose kneecaps vs. prom ise o f
perk? W hat letter-jacket will pick the w himpering worm over the hom ecom ­
ing cockstand?
Breast-tape and hair-dve for men. A whole generation turns go-carts
from the headstone on the track. D rugs, lotions and potions. We are em ­
balm ing ourselves in denial!
But we feel som e deep anger, som e holy hatred, som e m onstrous love.
We turn it around and drive against the flight-fleet. We drive straight into
the Mouth o f our own M ortality!
Silver coins spray from our palm s, and we are crucified one way or
another.
W ounded by the G ar given to Odin, we PLUM M ET.

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We leapt to get into the w om b o f the m other, an d we leap again to enter

the w om b o f Space!
Som e call this dem ise.
We call it “ Leveling U p.”
The M aster Builder, H iram AbifT, oversaw the b u ild in g o f K in g Solo­
m on s Tem ple. The plan s for this edifice were given directly to Solom on by
G od A lm igh ty and H iram w as the H ired Technician. There w as, however,
an elem ent which H iram brought to the table, an addition not part o f So lo ­
m on s vision. This w as a work called T H E M O L T E N SEA .
The M olten Sea w as a m an ifestation o f the G e n iu s o f T ub al-C ain , o f
H eph aestus. W ithin the Tem ple o f Solom on , th is w ould serve as a co m m u ­
nion betw een C ain and Abel. D ark n ess an d Light w ould be jo in ed via the
great P illars o f B oaz an d Jachin. The Sh ekin ah know n a s the H igh Priestess
w ould, at last, b ecom e ISIS U N V E IL E D .
This never cam e to pass. T reachery in the Tem ple resulted in W ater be­
ing added, prem aturely, to the M olten Sea. T h is d isru p ted the alchem ical
p ro cess and cau sed a ch em ical com bustion . This betrayal h as been played
out tim e an d again th rough history. Just as gen iu s is ab ou t to place the c a p ­
stone on the Royal A rch, the T raito r appears. From John W ilkes B ooth to
those w ho set up Jack P arson s, we find the M olten Sea defied. They are afraid
o f the inevitable.
But we know the Inevitable is the IM M IN E N T , even as both serve what
we seek: IM M A N E N C E !
**# -

There are so m e w ho w ould decry C h rist C rucified. These are ign oran t for
C h rist is C ru cified Daily. The T ran su b stan tiatio n o f the C ath olic M ass is
m erely a M IR R O R reflecting the Reality.
W hen Jesus died, the Tem ple Veil w as rent in twain!
W hen the M olten Sea was sab o taged , the E A R T H Itself w as torn a su n ­
der an d H iram AbifT entered the loin s o f the G reat M other.
H iram plu m m eted th rough the N ine Strata o f E arth to reach the Source
o f h is personal vision, the flam in g P lan etary C ore! It w as w ithin th is Tem ple
o f FIR E that he received the T R U E W O R D o f the M A S T E R M A SO N . A s ­
cen d in g th rough the sa m e nine strata, we find the M aster B uilder em erging.
These nine strata are a num eric varian t on the p rim ord ial SE V E N
G A T E S. Plunging th rough 7 and e m ergin g from 7, the M aster M ason is ex­
posed to F O U R T E E N P O IN T S.
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Ergo, Hiram com es forth dazzling in the Gnosis o f O siris assem bled!
Let us remember, the phallus o f O siris was not found. Isis fashioned a
new phallus from clay, and it was from this member that she conceived the
child H o m s.
14 parts + 1 (Phallus) = 15, (again) the number o f the Devil C ard o f the
Tarot, Capricorn, PAN, the ALL.
1 5 = 1 + 5 = 6, the Holy H exagram , M an and G od joined via the M asonic
Square and C om passes (Terrestrial and Celestial Measurement).
This is not sym bolic abstraction. These are sym bols reflecting
YOUR LIFE.
The fleshly phallus o f O siris was the m eans o f physical generation and
sexual ecstasy. When Isis created the new phallus, she fashioned a m eans o f
spiritual generation and G nosis.

I have taken men down to their deaths. I was wearing a black suit and hard
shoes, poised on red carpet and present in the M aster M ason Ceremony. I
drew my hand across the hum an breast and cut the heart. I wanted the death
to be felt as real, complete. W hen the body was severed from soul, we could
then bring the soul into its own space. This is em phatically N O T a dualistic
action. The soul, truly awakened, m ay reincarnate into its own flesh, at last
one with it!
The Flesh face will hold to the human skull as Deathgate symbol. The
Skullsoul will wear a different icon about its crum bling clavicles. O rganic
and Prism atic, this Jewel cannot be ossified in Tim e. It is the Jewel o f the
M aster in the East. It is the Vehicle o f the Rising Fire.
We bring the Candidate into Death that Death m ay lunge forward into
Life from its Spiritual Synthesis!
If this d oesn ’t happen, we will report, as did L azaru s, that everything
just continued on. The H ells and Heavens we have conceived have all been
known on earth. There is no secret invention o f an im aginary devil w aiting
to outdo what we have done to one another. We move from the ice and fire
o f the stairs where I began to melt into the Tibetan Bardos. Here K arm as
do not function in the Kindergarten way we im agine. We undergo the
“w alk.” Q lipoth don’t gratify Lovecraftian leanings. We com e face to face
with sham e and regret even as we find ou r prim e com ponents exposed. At
any second, w ere about to be sucked down the hall of Yellow Light. The

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m urderer relives his father bru sh in g aside a d raw in g in crayon an d retreats

to the wom b.
H ouse, Sun an d Fam ily are destined to be draw n again.

O T O A P U B L IC PA PE R :
T h e M i s t a k e o f t h e M e o n i s t e s

"M eon ” is a word often connected with the work o f O TO A -LCN through
the w ritings o f M ichael Paul Bertiaux. It is a realm (if we can call it that)
which h as been described as an “ icy n o th in g n e ss” But truly, the M eon is
no m ore “ icy” than it is “fiery.” These w ords (in fact, A L L W O RD S) derive
from an experience which is Non-M eonic. They are sim ply deem ed as useful
in a W ittgensteinian “p oin tin g” at som ething which operates outside the
linguistic level o f consciousness. Even these words are “ false” for they imply
that the M eon is a thing (i.e. som ething which exists). Lan gu age is tricky like
that. Even if we say the M eon does not exist and is not in any way a thing, we
have m ade it such by sim ply N A M IN G IT.
At this point, we m ay well be th in kin g o f our friend, Lao Tzu with his
“Tao that cannot be n a m e d ” W ittgenstein said that “W hereof one cannot
speak, th ereof one m ust be silent.” A s Esoteric Engineers, however, we do
not feel that the present lim its o f ou r technologies (including language) need
be settled for. W ittgenstein also spoke o f clim bing a ladder only to throw it
away when we had transcended its reach. Ja co b s ladder w itnessed angelic
beings (Loa) both ascen d in g an d descending. I f lan gu age is the Ladder, we
feel we m ight do better than ditch in g it—or crash in g down the stairs and
breaking a neck.
Lan guage is an expression o f M aya, Illusion, the W orld o f Duality. But
the M agician is, by definition, a M aster o f M aya. We do not seek som e on e­
way street to a N irvanic W hite-Out. There is a glorious pouring back and
forth o f the Waters in the A quarian Tarot C ard called The Star. This Water
is the result o f Fire and Ice colliding at the C ro ssroad s where Eternity and
Tem porality meet. This is not m eant to be a poetic statem ent but a technical
observation. Eternity can only be such through this interface. O therw ise, it
falls from itself into the occlusion o f linguistic lim its. To speak o f the Eter­
nal, the Infinite, the Void is to act as Blake’s Urizen an d en com pass the illim ­
itable. This m ust alw ays bind us within a circle an d keep us from that which
we have sought to know.

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We know m any students o f this work have desired to know the M eon,
for it is suggested as a verity “ Beyond.” The Inner Fire longs for its H om e and
rages against all cages. “ The Meon ” therefore, appears as a Bull’s Eye to we
might Hat Trick. It is not T H IS so it must be THAT.
But the M EO N is neither THIS nor THAT\
Ice is a symbol o f stasis contrasted with the wild growth of the warm
seasons. But we know that ice is active, vital and alive. We call the Meon
“Icy,” and yet it is on the other side o f Ice. It is on the other side o f FIRE.
The M EON is partner to the Pleroma. Pleroma is the FU LLN E SS, and
M EO N is the E M PT IN E SS.
In our teachings, we draw a distinct line between the “ M eontologists”
and the “M eonistes.” The Meon isn’t “evil,” but the Path o f the M eonistes
IS. These are those who w ould sacrifice Pleroma for Meon. Pleroma exists
by m eans o f the Meon, and Meon has its Reality (we cannot say “ Being” ) via
Pleroma. But the M eonistes are polarized into a D arkness which defies both
Pleroma and the Love o f Pleroma-Meon.
In essence, if you think “entering the M eon” is taking some daydream
headtrip into an Astral Antarctica, you have m issed the boat. In Hebrew,
Meon m eans DW ELLING. It is the SPACE (UNSPACE) in which M A N I­
FESTATION can MOVE.
Please consider the relation between the Gnostic Meon and the Bud­
dhist “ Lum inous Void.”
Are these the sam e thing?
Now, consider the difference between “ Bodhisattva” and “ Buddha.”
“ Buddha,” as such, has entered Nirvana. The “Bodhisattva,” on the other
hand, has rejected Nirvana and bound him self to Spacetim e until A LL BE­
IN G S achieve LIBERTY (Enlightenment).
Is the Bodhisattva a Buddha?
We propose this:
The M eonistes are seeking Buddhahood through Desire for N irvana.
Despite their efforts, they can never enter but fall into one o f the Bardo
Zones, again and again. At best, they are Asura.
The M eontologist is ever relating Meon to M anifestation and thereby
unveiling the Mystery that the Pleroma was never broken. The FU LLN ESS
could never be anything other than itself.
Now, is the Meon a Power?

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 -S e v e n F e e t U n d e r -T h e H e a r t of F ir e benea th t h e Tongue of S il e n c e

We may say that it is, but it can only be power as it eliminates the entro­
py o f tem porality by exposing tem porality’s True Nature as being the Void
(Meon) Itself.
How is this exposed?
We operate in linguistic-temporality. Therefore, we start in this zone. If
the True Nature o f the Temporal Universe is the Void, the True Nature of the
Void is the Temporal Universe.
The Void o f Meon is met by the Pleroma. These two (which are totali­
ties unto themselves) emanate and return to the Apex o f what we will call
REALITY.
Below this triad are SEV EN RAYS.
Those who would feign extinguish the DW ELLERS in favor the DW ELL­
ING are those who have inherited the Spirit o f the Pharisees and Sadducees,
those who would extol the Sabbath above the M an for whom it was creat­
ed. M an is ultimately meant to realize the Endless Sun-Day within his own
Heart, relating the Day-Night Revolutions o f the Globe to the Endless Efful­
gence. Earth and Sun are Living Symbols, Icons o f Nature. We seek to unite
Symbol with Verity in Gnosis and Love.

T U B A L CA IN is the Lord o f the South. He is Ogun, bloody and brilliant as

burnished bronze blazes in the sunlight! His Light stream s into the North
where no candle burns. The G O D OF T H E NORTH, SA M ED H I, is en­
twined with Tubal Cain in a symbiosis.
The M asonic Lodgeroom and its Rite are as a positive form which calls
up the negative space around it. 'This space allows for Shekinah to descend
upon the altar and bestow the Light which is watchword to all M asons. In
this G nosis, we find the Sacred Geom etry o f Freem asonry to move beyond
the Terrestrial Mind. Tine Square joins with the C om passes that the EYE
may OPEN!
Tubal Cain is Hephaestus, lame god, crutched Legbha, Lord o f C ro ss­
roads, Saturn, the Secret Lover o f Venus, Erzulie, Shakti. He is Builder, TEK-
TON, M ASON!
Hiram Abiff rises from the Molten Sea in this Glory. He is Lord o f the 9,h
Arch, the 7 h Ray and he is your Spiritual Father. He is OSIRIS RISEN, and
O siris rises through the Child, Horus, the Sun-Son. Here the Skull o f Death
becomes the Crystal of Cont inuance!

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***

I do not look at Death a s a Rom ance. I have stood by hospital beds and
watched blips on a screen turn into flatlines. I have carried the bodies o f
people I loved (and love) in bags and caskets. I have sent every last ounce
o f my love to those 1 have lost. It is the Way o f All Flesh, and I am not done
w alking this Path. The M ysteries o f O siris are M ysteries o f C onsciousness
on the Mystic Way. They do not set us apart from our fellow creatures but
bring us closer. The m ore we can enter the Place o f D arkness, the better we
are suited as Vehicles for the Light.
W hen I was a teen, I was baptized in the Baptist Church. I w as held
beneath the waters, an d in the nam e o f Father, Son and H oly G host, I was
brought back into life. A s I rapaciously raged on through my spiritual stu d ­
ies, I w ould reject— and then re-em brace— Christianity. A key moment was
when I understood that Tim e w as as m eaningless as Color. The G rass is
G reen—and it is NOT. The “ is-ness” o f the Green is w ithin our conscious­
ness. This is where it has its reality. My Baptism has an “ is-n ess* within my
consciousness. It has no objective or absolute reality. W H E R E IS IT? HOW
C A N I SHOW IT? I cannot. I can only recall it, which is to relive it, to evoke
it an d to be empowered by it! In this reliving, the NOW o f this M O M E N T is
infused with a LIV IN G SY M BO LIC FORM through which I com e up from
the water. I re-enter Tim espace. This is a paradox. Per our previously d is­
cussed form ula, the inevitability o f my death m eans it has already occurred.
1 am dead. But through the vehicle o f Baptism , o f M asonic “ R aising,” o f
A N Y form expressing th is principle, we, literally, com e back from the grave.
In Voodoo, we have the M ystery o f the Zom bi. This is a being brought
back from the dead an d controlled by the m ind o f another. In ou r Esoteric
Voodoo, the H igher M ind is Ti Bon Ange> the Angelic connection to God-
Life which anim ates and drives ou r w aking self. All o f our occult knowledge
and m agical ability is m eant to em power this process. We will rise again
and again into this seem ingly consistent lifewave. We will rise again into
other lives.
A nd these will rise into US.

There are som e who have tagged the Form ula o f the Dying an d R ising God
as a Piscean Phenom enon, no longer applicable to the “New A eon.’* I reject
this Zeitgeist mentality. Crowley influenced the M agical World with his Ae-
onics. This was a variant on Fundam entalist D isp e n sa tio n Iism . W hence
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rose this outlook? It w as a natural response to the C anonization o f S crip ­

ture. Such diversity had to be reconciled, and this w as done by identifying
revelatory conditions dom inating various “A g e s” A s we learn o f the political
underhandedness behind the codification o f the Holy Bible, we see a blatant
power play eclipsing prophetic power. Rejecting this agenda (and those who
have made use o f it for two m illennia), we are not subject to conceiving the
world in term s o f divided Aeons. Rather we see E LE M E N T S to be worked
with, entered into and united through New Alchemies!
O siris links us to Isis and Horus! Like O din, oath-bound to Loki, Set is
welcome (with confusion and chagrin) in the Temple!
O ur entry into this world is meant to dig deeper than the grave. O u r
consciousness is designed to reach beyond the lim its o f logic. It may be si­
lenced in the process. Remember, one o f the consequences o f falling from
M asonic Fidelity is the tearing out o f the tongue and its placement in the
"rough san d s o f the sea.” There is profound sym bolism in this! K arm ic Ret­
ributions are a m eans whereby we “ learn the hard way.” Eventually, we shut
up that we m ay H EA R T H E FIRE. This Fire is the W ORD. Its ascent into our
U rthlife gathers about its core Vehicles o f Transm ission.
The Book o f the Law tells its Prophet to "U nite by thine art so that ail
disappear.” We will add that this dissolution is a SOLVE wherein our CO-
AGULA may be a True Rebirth. Resurrection is not a vain hope held in a
superstitious heart. It is the D EST IN Y O F D EA TH ITSELF!

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 A n A u t o m a t ic W r it in g
P r o v o c a t io n : J u s t i t i a O m n ib u s
Robert Angelo Dalla Valle

In trod 11ctio n: Tra nsm issions

Automatic Drawing: Gold and Rose
Automatic W riting:'The Poem; -Provocation: Justitia Omnibus-
Endnotes and Etymology
Also featuring three additional autom atic visual
arts created in traditional mediums;

M e d iu m is t ic a u t o m a t i s m a r t s o f a l l m e d i u m s :

he o b je c tiv e h erein : as critical analysis and contem porary study,

T and as contribution o f my arts and practices to a style o f creation,

the latter, i.e., contextually as the specific artistic vehicle or m edi­
um utilized (double entendre intended o f course—nevermore so befitting)
as mode and m echanism in which there are objectively two tangible earth-
bound (material) elemental entities interacting entangled and interlaced
via etheric-entrails with a third (fam iliar or) unknown variable arriving, as
singular or otherwise expressed potentially extradim ensional/otherworld-
ly conglom eration am algam ating, as an often ephemeral presence, seeking
perm anence (to enflesh) via human host and “conductive-elements” via
will, desire, dom inance and if not constrained, as chief-constituent creative
catalyst, albeit presum ably (initially) unknown variable in synergistic ka­
leidoscopic action as an ever-shuffling interminably interchangeable trinity

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o f C reators and A rts, o f whom, intimately, only the am biguously elusive au­
tonom ous th ird (eye) com pon en t’s divine (twin) tw ilight-casting chthonic
shadow “ hand and eye" truly know s— conducting, gu id in g an d com posing
even if once con strain ed and well-known be its nam e, nonetheless all know­
ing, glow in g-en grossed im p osin g passion -aflam e.
A s sh am an used to love, heal and run free, today A rt(s) and Creator(s)
fuse to “ becom e” one sensational sen sualist-C reature thus intim ately shar­
ing one love a s feast, one m ind, body, soul an d one bestial-driven an im al­
istic lust for life and beyond h um an -beast. The ruthlessly rational craft and
artful lax tact o f intuitional willed-efficiencies* daft driven person al-in di­
vid u al paths' Passion is antecedent to the attractan t and accelerant o f gn osis
and pro gress developm ent independent o f ration.
We shall begin here with a b rief introductory note on transm ission s,
within th is context, as the inform ative dissem in ation and transference of,
for exam ple, a b o o k s volum e o f content within the blink o f an eye, in trance,
or intuitively “ received.” The unplanned un scripted genuine otherworldly
tran sm issio n —w hether electrom agnetically or a s un scathed shuttled neu­
trinos freely piercing the form er, they are perhaps all too often, far too fast
for the tongue or hand to sim ply relay in real tim e via any (exoteric-perceiv-
ably rational) coherent speech or m otion, possibly p o sin g a real challenge
to the m edturrustic stage channeler and their act. The stage affords good
entertainm ent— the art o f the book, in nurtured-hibernation, with its fro­
zen tim eless su spen ded-anim ation o f intellect via the fire o f consciousness
unthaw s inu n datin g w ords and visual arts o f risin g tides which m ay poten­
tially provoke profound experience, n ourish, and whence the stage too then
becom es the laboratory-lair o f profundity. C o n trary to the force o f the chan­
neler, 1 p o ssess no intent beyond the obligation to my blood o f m aintain ing
the pedigreed prerogatives and copulative integrity, in transcription, o f the
h arm onic cam arad erie o f those loving liaison s encountered.
rrhe critical dy n am ism o f a lifetim e o f gelatin ous eclectic gn ostic expe­
rience con geals, privately catalogued via Fluid and now C rystalized intelli­
gence, never intended to have been in print. Station to station all creation
never static thus consequently guided, autom atic, in which each labyrinthine
word in alliteration absolution is a 11-activating thus absolute. A s Lem arch-
a n d s Lam ent tw inkles tin klin g succinctly snappy ron d os o f sublim e b an al­
ity—the bell tolls. Plea sure-bound cyberneticists reining we navigate, desire
unrepressed, where only the sensuously jaded hypocritical hedonist falls

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nih ilistic a s the h ieroph an ts dance. Sybaritically and cybernetically-psyche-

delically, phonaestheticaLly o u r denizen’s schem atics are herein rhythm ical­
ly revealed via the sym biotically sym bolic, ironic, m etonym ic, m etaphoric,
am biguity, iconicity and sim ile o f incantatory and rhym ing reson ance in
epiphany— bled beyond the platitude o f the cenobite’s blight.
N evertheless, all artists (presum ably), whether aw are or not, have likely
em ployed v ariou s tactics o f sublim ation in their pu rsu its o f enfleshm ent;
the form er not for Freudian social aesthetic but prim arily personal an d/or
collective creative sacram ent, the latter an entanglem ent then inevitable ata-
vistically via aw areness and its desire fulfillin g detachm ent thus detan glin g,
re-creating. Im m ersed in the perpetual recalibration o f archaic sciences,
evolving with newly passed torches from these m egalithic stepping-stones,
w eve leapt delivering those devoted, propelled by only the eternal pursuit o f
truth in efficiency.
W ithout any scientifically objective m eth od s o f epigenetics such as the
genom ic im prin tin g o f today, the theory o f Em piricism and the em pirical
scientific-m ethod in which epistem ology focused prim arily upon the influ­
ential (m im esis) environm ental and cultural experience o f (trial & error) c a l­
culable, tangible evidence im itated, observed, whereby the biologically and
m etaphysically innately intuitive atavism "se n se d ” was in recoil— has now
been “ u p grad ed ’1, restoratively and creatively anew herein acknow ledged
contrarily co ilin g in ascent. A nd beyond only sheer intuition, the "evid en ce”
o f the scientific m ethod is thus now too satisfyin gly acco m m o d atin g to the
n eo-em piricists, with consideration. The Raven Paradox is also explored,
pragm atically, from an eclectic technologically q u an tu m world view. Rise
o f the holism o f atavism — from the M an on the Silver M ountain, to Pazuzu.
A nd, for Ronnie Jam es Dio: " I ’m a wheel, I’m a wheel/I can roll, 1 can feel
and you C A N ’T stop m e tu rn in g /‘cause I ’m the sun, I’m the sun, I can move,
1 can ru n /but you’ll N E V E R stop m e B urn ing.” — Blackm ore & Dio.
A nd it cam e to pass. A s advection fog, I cam e over the tw istin g rage o f
the sea’s b reak ers...
R egardin g stim uli having resulted in biologically subjective responses
as perceptions— pleasure an d p a in —the d escen din g and ascen d in g nerve
"pathw ays” o f the central nervous system (spine & brain) involve tran s­
m issio n s which are to be m astered in "tim e.” A n d ju st one exam ple o f the
necessity o f the initial m astery o f the physiological realm , especially when
utilizin g m y techniques o f interm ittently introducing pain tactfully as an

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interference to prolong pleasure, very practically involves “gate control theo­

r y ” M aster the pathophysiology o f p ain and elim inate all pain by m ain tain ­
ing and exten d in g all pleasure. D irectin g all endogenous endocrinological
traffic, well-tam ed, their gates & pathw ays overseen, w ell-m aintained, uti­
lizing thus h arnessing the bio-m etaphysical (deified) hierarchy o f chem ­
ical-m essengers or horm ones, the descen din g pathway thus provides an
inhibitory m echanism as m odulation to/of pain/pleasure. W hom o r what
controls your own gates and pathw ays? Here felicific pleasure ad infinitum
reigns. Sources: Ronald M elzack & Patrick W alls gate control theory - Sci­
ence 1965, C atalan o, 1987, Wells & Nown, 1998.
Intuitively for devotees reveling in these m any self-m astered synergies
o f nature s N yx m ysteries and via will, the ultim ate objective o f m any d e­
voted creators is to eventually em bark an d develop upon their own origin al
path(s)— their own unique functional ideologies (theory), m eth ods o f tech­
nique (m agick) an d alphabets o f desire, in practice- never to shirk the calk
but to egress an d progress. O f course, som e m ay only seek the sim pler sleek
com forts o f m ere entertainm ent, its enchantm ents in excess even escapism ,
rather than ever pu rsu e eternal refinement, as “som e” m ay seek far more.
By incanto o f holism ’s (chi) all-an im atin g truths, we now grow increasingly
transparen t and em pathic here, as we precipitously em phatically evolve tele-
pathicaliy— the sym bol replacing the word via the d ynam ic action s o f na­
tu re s just inevitable necessity o f intuitional w illed efficiency. New currents
alw ays com e, m any identifiable...
The c h am b erm aid ’s cavalcade is too now well underw ay am id the tem­
ple ▲ o f the spade * .
Those labeled a s m edium /chann eler also m ay dem onstrate an act which
they have prepared to entertain others with; however, as are we all perhaps
inevitably to a degree, they’re vulnerably incapable o f substan tiatin g som e
questionable aspect o f m a n s d am n in g perception o f authenticity. Since su b ­
jective and initially unintended as a “prepared” presentation, I have no actu­
al expectation o f being “ believed”, nor do I scour the globe seeking a niche
to exploit wherein tolerance accom m odates. For what is to believe if and
whence “I A m ” is all thou ever knoweth, cradle, nurture, feel and see? E xp e­
rience— know, rather than believe and truly becom e free. Strive to “prove”
noth ing to “m an” in your pursuits. Both explore and dem onstrate for the
sheer integrity, loyalty and Unity o f Love and Pleasure alo n e... A lso, com ­
pete only with the “se lf” ., and then bend and transcend it, to seep rolling

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 A n A u t o m a t i c W r it in g P r o v o c a t io n : J u s t i t ia O m n ib u s

fleet into orgasm ic un bound p astu res’ suite as oleaginous-treat o f w rith­

ing-rising postu res we greet the ecstatic eternal death in-release sweet or
via sleep then revived aw akened alive we creep deep into sen su ality’s san c­
tum peakin g piquant peace wherein refuge we reap, as w in d m ills’ cohesively
crass cogs.
The stage-m ed ium ’s failure to typically dem on strate any practical tech­
niques by candidly offering an yth in g but an act, such as an all-inclusive
critical an aly sis in which the m edium -channeler them selves is creator-sci­
entist and skeptical critic, em bodyin g all traits in one observer-practitioner,
m akes them slightly su spect, deficient, perhaps Labeled and thus often per­
ceived as only an act. Rather than ever “dem on strate" only som eth in g “pre­
p are d ”, I provide precisely as I had initially received, being the result first,
unrefined, now also filtered via the added com m unicative convenience o f
surrealistic D ad a lenses cryptically convened in print as presentation, fo cu s­
ing the all-en com passin g pre and post tran sm ission inducing an d gau gin g
m ethodologies em ployed in pursuit o f the com plete com prehension o f the
correspondence in com m un ion and resultant cues and con figuration s cata­
logued as confirm ations.
A s sh am an ic-m echan ic I provide those at any level o f skepticism with
their own physiological-m etaphysical toolboxes including perceptions and
practices with which to tinker, with no distin ctly concrete “G reat Expec­
tation s” for anyone. Never believe only m y refined (or raw) perception(s),
entertain ing only the experienced final results o f my technique and toil
alone. W hether herm it, fool or prin ce—genuine Experience is what 1 hope
you’ll have, rather than ever enduring blind unconditional or questionable
belief—com e to Know. Experience to know, an d (let) “g o ” only as far a s you
ch oose— paced from the cu rio u s to a fleeting nonchalant glance only in ­
terested in aesthetics to deep study, practice and contem plation, m etam or­
ph osin g under will o f self-construction via such aforem entioned boxes o f
tools. In a literal context w ithin my full length enchiridions, I w ill practi­
cably dem on strate any creation processes thoroughly, d o d gin g no question,
en cou ragin g others to d o the sam e through elaborate perpetual self-discov­
ery, rather than ever hoping to portray person as o f m endacity m ain tain in g
the ch arlatan ism and illusion o f som e type o f exclusivity. The a m b a ssa d o ­
rial creator’s law under will is for all stars. Physiologically and m etaphysi­
cally, seek, discover, experience, m aster an d know — tangible techniques o f

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 R o b e r t A n g e l o D a l l a Va l l e

transm ission via my “tractive force” enabled-elucidated throughout my en-

chiridion’s locomotive recourse.
Beyond any constructs o f “tim e” initially, “the word taketh form sans
force”, telekinetically though non-telepathic com m unication is often here
within M alkuth typically reduced to a snail's prim itive pace. My own em ­
pirical m ethods and well-aimed technique o f “shot in the d ark ” (reverse)
divinatory articulations as processes o f ethereal enfteshment are both ini­
tially swift and, i f deemed warranted, also then exhaustively tedious; as I
repeatedly lay inform ative skeletons as scaffolding in congress astride flesh
then m anifests, the direct m eans by which the scribe and sham an tabulate
and profess all navigational nuances, strategies and quests. C oilin g in black­
ness never rests—my legions o f silence spake in blood. Know and venerate
your blood. Toss your roses high, covering their eyes, death to all disloyal,
forever in reprise. Regarding the works I have made a sm all gradual release
of, 1 am sincerely moved by those frequencies now resonating in response. I
salute you, those black d iam o n d s—welcome to the tribe o f label-execution.
From my crucible, the resultant exam ple herein will not include the full in­
struction and illustration o f my “techniques”, philosophies, sigils, grim oires
or their elaborate technical processes—which are reserved space-perm itting
within my complete Enchiridions. Uncensored, there will “no doubt” be a s­
pects which are both perceived as positive and/or negative to som e, even
controversially hum orous perhaps, ever the d e v ils advocate... C linging
to dogm a, dichotom y and duality, if you don any known societal label(s),
bearing their influences in any way whatsoever, you are likely to eventually
become offended a s our intertwining tongues shall only grow increasing­
ly biting.
Forthcom ing- The Enchiridions o f a Black Eremite: Volume I: A C on ­
tem porary Study in M edium istic Autom atism as an Initiatory Vehicle: Py­
lon 0-1 - excer pts including art o f which, now may be found in the Qliphoth
O pus I Esoteric Publication and Qliphoth O pus II Esoteric Publication -
thus far having only ju st begun to providea sam ple o f my eclectic menagerie
of creations.
Such progressive works, including my brand o f analytic philosophy or
“m odern analytical em piricism ” a s my own Empirical M ethod, provide an
original and expansive insight into my neoteric critical analysis process­
es from both the active creator and the reactive observer in possession of
the evidence o f experience— sharing eye and hand, hand-in-hand and

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 A n A u t o m a t ic W r it in g P r o v o c a t io n : J u s t it ia O m n ib u s

“ hands-on”, the decades o f experiences into otherworldly-mystical artistic

private practices utilizing oneirism , O rgone, the atavism , the astral and as
oneironaut— deeply venturing and gam boling into bliss beyond unchartered
raptured realm s baptizing.
G O LD and ROSE ©2013 Approxim ate original size in inches - 3.5 width
x 4-75 length - Autom atic drawing- (current) Classification A: XI - and
unrefined - M edium s: Blood & gold/silver inks on (the so-called) white-
lined scrap paper (to me it’s blue-lined [& one red]) - fum igated for hours,
burnt by resinous coals. My selection o f artistic m edium s is also entirely
reliant upon “swift” processes o f m edium istic autom atism or my style o f re-
verse-divination, and is thus as random o f a “selective” process as the action
o f creation itself. This further encom passes the safeguarding preservation of
the totality o f intuition ensuring the untainted purity o f the transm ission
received - raw, prim al, unpolished and unrefined for public appeasem ent.
Intuition, reception and preservation; as much as is possible for the observer,
these are to be enabled-free o f interference-patterns, by always being “un­
prepared” to random ly create with whatever is im m ediately available within
reach when inspired, therefore effectively m aintaining the pure absoluteness
o f the unplanned, intuition, transm ission and preservation o f m edium istic
autom atism creative integrity perm eating every step o f creation processes.
A LL m aterials are potentially creative vehicles. All initial creation is al­
ways 100% random , totally unplanned, freehand and swift.

Faces o f M inX x ©2011 ^Automatic draw ing - (current) Classification A: IX -

and unrefined - M edium s: A broken black bail-point pen, red and blue inks
on white scrap paper. U pper right: cardstock-paper holding four o f my (let­
ters) black sigils and one large silver-metallic ink sigil. *M ade in the dark­
ness, at the edge o f a river, where only one knows to find and how to quench
me, as we dove back into love reunited that day - She’ll always know in the
Sun where Ш be, both big & Mil “A.” And echoing from one day o f rays in
the Sun to this sam e locale, She co m es...
Note: The (perhaps to some) am biguously fleeting elements within auto­
m atic works o f m ine, such as those here written, scraped and scribbled seen
as a cryptic-etched sketchy sketching in which im ages fetched or as pets
with no regrets enm eshed may gleam and glean neighboring anserine never
serene as “neither one thing nor the other” thing, the two beseeched in tug of

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 R o b e r t A n g e l o D a l l a Va l l e

war, or vastly m ore aptly in keeping score— to M aster creators such as A u s­

tin O sm an Spare, v ia The Kia„ they’re “neither-neither.” D uck, duck, g o o se ...
A nd likew ise, to the M aster Salvador D ali, by his own dem on stration
and definition a s well, such phenom ena, albeit too via The K ia, by the in ­
tegration o f the intent o f the creator’s will entangled with the ob serv er’s
progn osticated perception experien ced, corralled & w rangled, involves his
“paran oiac-critical m eth od.” A s optical illusion s are perceived and enabled
via “ in tru sio n s” to o u r senses (em otion) an d /o r aural to au ra’s observational
defenses in /o f reality; o r ne it her-n either - the com m otion o f the M a g e s p o ­
tion s an d m otion s - delivering sim u ltan eou sly m im eticaU y and atavistical-
ly via reverberating electrom agnetic sp ectru m entanglem ent, a synergy o f
plasm as, or an otherw ise elem ental intersection with o n es’ very own electro­
m agn etic field, sp ectru m (aura). W ith D ali the piper, the s u p e r c o n d u c t o r ”
a s con su m m ate lover o f all creation and truly dyn am ic-autom atic surreal-
ist-presuppositional self-realization - The M aster o f Reality.
Therefore, D a li’s “ paran oiac-critical m eth od ”, m uch unlike the h igh ­
ly subjective Death Posture o f A .O .S., w as engaged, em ployed as a swiftly
su b iim in ally sublim ely enticing m arion ette and independently o f the whole
“ d esire” resuscitation or otherw ise atavistic personal-deep involvement
and investm ent o f the individual observer; thus engendering (perceptions
o f) the ever-tran sposin g trickery o f double or m ultiple im age(s) as p re p o ­
sitioned pattern(s) prem editated!у “ h i-jackin g” ou r perception(s) with the
over-layering tran sm u tation s o f a sorcerou s m ad m an ’s design , intent and d i­
vin e-aspiration s, o f w hich m any today com m on ly refer to a s optical or v isu ­
al illusion s (or neither-neither). R egardin g the latter, there are three p rim ar\
types, briefly known as the literal, the physiological an d the cognitive, illu­
sion. A nd ju st two o f the v ario u s vicariously vital D alin ian exam ples o f this
sorcerously playful-interacting as an artistic tem po and too as technique, in­
clude the succulently su rrealist m asterpieces: “ B allerin a in a D eath ’s H e ad ”
(1939) an d “ Slave M arket w ith the D isap p earin g Bust o f V oltaire” (1940).
(For m ore in form ation see my E.B.E. V olum e I.)
“ Paran oiac-critical activity: sp on tan eou s m ethod o f irrational know l­
edge based on the interpretive critical association o f deliriou s ph en om en a/
— Salvador D ali, The C on quest O f The Irrational, 1936
The follow ing autom atic w ritin g/poetry is an excerpt from the u n pu b­
lished B ook o f the Blue Scorpion an d Safekh-A ubi, which is also chapter
five section one o f The Book o f Black by Robert A ngelo D alla Valle©. The

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 A n A u t o m a t ic W r it in g P r o v o c a t io n : Ju s t it ia O m n ib u s

following is one o f many such experiences extracted from myriad m edium is-
tic autom atism devotional pursuits in trance “captu red ”, housed and refined
resulting in these philosophical-poetic rum inations from my experim ental
and applied sciences o f “ Bridging the Physiological TO the M etaphysical.”
The Book o f Black is a specific work o f bioenergetically-corresponding ch ap­
ters as one o f my personal m etaphysical m andalas, cartographic grim oires
and holistic tools; this work is a separate project from my forthcom ing book
*The E.B.E., or;
*The Enchiridions o f a Black Eremite: Volume One: A Contem porary
Study in M edium istic Autom atism as an Initiatory Vehicle: Pylon 0 -i, which
will also include exam ples o f my autom atic writing, poetry and art in vari­
ous m edium s.
*The E.B.E. also features: The treatise 393 Sefekh, the C on sort o f Thoth
Part I: The Introduction: Philosophy, Science and Techniques
Part II: The C onfirm ations o f C om m union, Validation o f Contact
Including the visual art *393, Sefekh, the consort o f Thoth”, and many
other m ultim edia works.

1
oo

A n A u t o m a t ic W r it in g
T h e P o e m

P r o v o c a t io n

Justitia Omnibus
“ The gods justified hum an life by living it themselves— the
only satisfactory theodicy ever invented.”
— F r ie d r ic h N ie t z s c h e

Providence - a prom ise m ade divine punishm ent, an em otional rescue for
those venerating as m isunderstood mothers, m asters and m uses, a prom ise
only truly kept when love is the most persistent o f all dream s - freed o f all
doctrine or dichotom y as schemes. O ur eternally pristine truths now wisp

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 R o b e r t A n g e l o Da lla Va l l e

through pursed icy lips the codependence o f all loyalty through which the
deepest love soon slips - our path(s) overseen by ancestors, no m odern men
o f tricks.
Judgm ent excluding all divine justice is m adness, as the executioner-hu-
m a n s hierarchical testosterone-driven guillotine-fed ego bred excuses for
resentment and ruthlessness, when the integrity o f loyalty and com m on
sense are no longer pliable thus profitably-bent. A s any agin g assassin ac­
quiring no apprentice knows, and for all lost k in g s... m isery swallows those
whom wallow thus ‘tis no obsessional curiosity in m alice - ou r stain and
blithe appropriated bane well-refrained callous deem ed sane as the gallows
astride thy palaces' blight wane hollow and shallow - wrought o f the black­
est and m ost ravenous o f spiraling p its .44My whip affixed caboose-hips and
tiame reigned fam e long before the noose and thrones cam e.”
The efficiency o f survival sheds all m odern m anm ade insulation - the
illusory engineered insanity o f m onetary debt-enslaved inflation. Im pede
just one o f our loved - ju st once, a ju st one beloved, and we'll steal and seal
an entire civilization with a yawn by dawn in a blink during brunch and in
just one reprisal by noonday crunch. No law outside o f m y own is worthy till
until proven m easured the path o f right and o f its might - the blood spilled.
Hail Safekh-Aubi. Hail Sefekh. Hail Seshat. Hail 393. High upon HER head­
dress rests my Sisters brood and blood o f eternal truths, lest we digress,
enlivening intrespectively whilst sim ultaneously collectively increasing
awareness am id the epistem ological-m ethodical solipsists and respectively -
our "evidence” o f experience slithers far from only the classical rationalism
o f objectively em pirical im pressions left - bereft, deplored - Innatism , as lib­
erating revelations restored, joie de vivre. For what new war hath its ending
ever scorned or forewarned? By the precipitating perceptions o f the arriving
w arrior-m ages are m ade aeonic com pletion - em anating back, anew and
w ordless - truth.
In weathering n oon d ays sun neither blackest nightfall’s m ists were I but
a frail slain Rose thrice kissed.
For those Rose’s having risen, I now raise those o f thy fam ilia Rose. Pre­
ciousness save graciousness, o f word and m outh, slain, and I, in my youth
SHE spake as SH E grooved-quake and glowed - my thorns they found his
flank atop that fence by river ban k’s cane he crowed - horned tail hung in
hand hurled sw ung he lassoed his kiss from HER as young m aidens wove

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 A n A u t o m a t ic W r it in g P r o v o c a t io n : J u s t it ia O m n ib u s

and hum. As my Aunt the native Princess Rose exclaimed scolded toed ‘n
told - SH E did know his nam e aflame in-to HER days o f old he sold.
Rom ancing sem antics with haughty hum ors o f am biguities’ amiable
dance here indulged indeed by word and Image so entranced. The lioness
conjures ideals o f loyalty and love, divinely-automated, to some perhaps per­
ceived - self-replicated, thus nonetheless unequivocally inspired-motivated
to survive via efficiency and not addiction to power and greed allocated; thus
m any chose their fate, they were not karm ically appropriated nor unfairly
ever baited. Collectively “cognitive dissonance” prim arily thrives am id the
separated, all com passion confiscated, the socially slated m ade isolated to
deliberately dissem inate ignorance mimetically and ep(genetically as engi­
neered hatred for (those profiting from) the hated.
Be they all well-fed o f the scorpion s blue blood and o f the blue scorpi-
on’s vivid truths too for bas bleu.
Holism breeds empathy and not self-sacrifice hence only weakening an
unhealthy ego at best. Everything which lives is “ intelligence” efficiently
(chi) thriving as effervescing elemental soups o f radiations m utations - and
any truly appalling apparition, ‘tis but the flotsam and jetsam o f m an s ran­
cid m ind and mechanical overkill, merely the merry m isery and m astery
o f the m aterials o f the m aniacal. The iconoclast’s foreboding fermentations
and futile tactfully taciturn “ last stan d ” o f desire’s hesitations.
A society sanctim oniously founded upon their own false justice o f
back-door deals and contrived violations to their own constitution inevi­
tably m akes everyone crim inal. Just as any profitable thus exploited com ­
modity having to endure illicit global economic m anipulation such as the
planned obsolescence o f the scarcity m onopolized within any authoritarian
defined regime o f rigged-voting and no genuine right or left political para­
digm ; surely rom ancing sem antics... courting falsehoods coursing in leaps
and bounds. From Apollonius Rhodius, Argonautica 4. 1057 ff: “N yx (night)
with her gentle ban on m an’s activities descended on the company. She put
the world to sleep.” And from Homer, Iliad 20. 477 ff: “So all the sword was
sm oking with blood, and over both eyes closed the red death (Thanatos) and
the strong destiny (M oirai).”
For forgotten foreign widows, eternal youth, ruth and truth, introducing
-T h in *Lil M iss-U nderstood...
The Reaperess Justitia O m nibus, Thanatos and Eros has come good; let
no pontificating p on tiffs plutocratic prejudicial neurotic prime-time media

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 R o b e r t A n g e l o D a l l a Va l l e

befall H ER nam e, ever. The new scapegoats for intolerant psyches o f the m a­
levolent m anifest as the self-righteous slaughterers o f ou r fragile freedom s
- laid to rest. A boycott is actually effective, perhaps only if it is perm anent.
Turn them o ff and turn-on the spirit. E ncoding diabolical desire, corporate
m edia m aliciously bleeds controversy and civil unrest, their freedom and
p u rp o se perhaps, technically yes, m ost unnecessary; however, d isrespectful
surely shall they fester. From Bacchylides, Fragm ent 24: “ But m ortals are not
free to ch oose prosperity nor stubborn war nor all-destroying civil strife:
A isa (D estiny), giver o f all things, m oves a cloud now over this land, now
over that.” The ju stly con densating collusively-coalescing freedom fogs o f
m y tran sm igratory m eteoric m etaphysical-m etem psychosis - as above, so
below, m ak in g cold the h ands corrupted via acrocyan osis.
A nd for 156, Yea B ab alo n ... with im peccable tem po delivering,gathered
am id seven ‘neath scorn o f little horn sim m erin g - for SH E is in the w orld’s
sm allest country now, as it rots. From the west iconic new flesh attem pts the
statuesque by replenishing old falsity professed for the confessed via vat-
ical word now enfleshed. From the pinnacle o f the practical pagan to the
patriarchal philosoph ically pondered, for ou r lady - La Santisim a M uerte,
ascen din g virgin o f Justice foreverm ore exonerated. From the m ost ancient
o f know n death iconography, evolving into the m odern elixirs o f love... nev­
er to be profaned by m odern m edia and the corporate keepers o f the saints.
Beyond the con sciousn ess o f slave-m asters, thus beyond all falsity, n eo co ­
lonialism , suffering and death - SH E rises within the resplendent light o f
love and loyalty's sacred breath, a s ou r tassie each su n rise salubriously over-
floweth H E R copious renewal as honeyed nectarous philtres ingratiating
about thy n ecrom an cers freshly aw akening new-day risen un dulatin g flesh.
Oh m y voluptuous verve o f vexations’ veneered vocational violence so
vile a vu lgarizin g verdant vendetta verily vindicatin g vindictive Venetian
villain esses; oh how I hunger and thirst for th ee...
The neo-apostolically, are an astatically deranged few, to yearn is to
burn, unless a trapped shrew.
From ou r dom ain , here, our tragic thirsts freshly quenched by the Hip-
pocrene spring of inspiration brim m in g bliss, now - so arin g above the
M uses o f M ount Helicon SH E soothes beyond the hooves an d gravitational
orbit-grooves o f Star 51 Pegasus, SH E m oves... draped in sooth in g cerise,
and I - intoxicated by its burgundy sweet, in release - im m aculately SH E
cradled me w ithin H ER right hand as if nursing ye nattily donned so neat

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 A n A u t o m a t ic W r it in g P r o v o c a t io n : Ju s t it ia O m n ib u s

- here bric-a-brac trenchantly a vignette as vinaigrette - whenever SHE

clutches m e as scales they meet, met with sweat, soon to regret, as railing
predators intent-deceit, ruthlessly fails, the fallen - beat, our just seques­
tration, repossessed - reprising retributions’ recantations in retreat - hence
loquacious lam entations shriek as if new nails within our sm ithy’s m idst -
indeed we do now greet.
Blinded by Her brilliant Venusian flesh, where softly dancing sweet feet
meet reawakening lost desires - we danced round and drank am idst sw ank
poetic pool’s bank, were shared the kiss o f love and fruitful fires - h arm o­
niously pooled now precision tooled, all ecstatic pleasures piercing played
upon our sexy lyres.
Oh such sultry Eden sweetness as voids am id carrion in perpetuity rank
- be the butcheries’ voids o f only a vulture’s paradisiacal vacuity stank. Oh
such sultry sw eetness as - HER breathlessness in cessation rests my civ­
il elect voluptuous and vexed foxed blindfolded foxy-vixen Roman virgin
proxy vulpine - Justitia. And projected earlier as the daughter o f the Earth
too reflected via G aia - their essences intersect, therefore sharing the Del­
phic Oracle bestowed as collective effectively to protect-guiding respectively
as we circumvent sloth, struggle and all strife, electively evolving synergis-
tically with all life.
With SH E as my tenaciously tem pestuous tigress and term agant tem pt­
ress the T itaness - Them is o f Greece (ethereally-transfecting), the proper
prim ogenital Greek goddess o f Justice and consort o f Zeus.
Their daughter A straea so sickened by m an’s maleficence was SH E then
catapulted blazing cosmically. Star-m aidens vital sacrosan ct essences3 an ­
nexation thus exiled and ascendant as virago into Virgo erect.

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 A n A u t o m a t i c W r i t i n g P r o v o c a t io n : J u s t i t i a O m n ib u s

M ajestic M other o f m any - T hem is em an ates the qu in tessen tial d y ­

n am ic creativities o f all ju st m u sin g s th u s SH E is also the san ctified sib ­
ylline (protogenoi) M other o f P rom eth eus (and not n ecessarily C lym ene
[in Theogony o f H esiod]), Prophecy, E un om ia/O rd er, D ik e/Ju stice, Eireney
Peace, H o rai/T h e F ou r S easo n s and (accordin g to H esiod, in Theogony 901
ff - w hom provided a very com plete early accou n t o f) The M o irai, as the
three d au gh ter-god d esses o f im pertu rbably unw avering essen ces o f d estin y
d rap ed in th eir h an d sp u n virgin al “shin in g-w hite” cloaks, an d n am ed as
the three “ Fates'9 - A tro p o s, C lotho an d Lachesis. (R efer to N ote 4. o f the
E n d n otes section fo r T hem is w ith M o ira i as progenies)
O h pu rest holy w om an o f m ajestic m ag n an im ity m unificently a s m a­
rauder - m a g n a n im o u s to ye m ost vile w retch lin gerin g su rp lu s o f the
slaughter. La S a n tisim a M uerte, o u r ever-graceful Skin n y L ad y ... m o st g e n ­
erous com plete m ercifu l M oth er to these all such w on drous n onperish able
treats5 qu alities ab o u n d en flesh in g g ran d eu r reso u n d in g untold opulence
bequeath ed profoundly, u n gro u n d in g, sa n s im pulsivity, silently righ teou s
w ith im p u n ity for the w ise in -crisis now u n m ask ed w ithin sh ark 's p a ra ­
d ise-d em ise ye bask. ‘T is we w hom never o b fu scate ye - m ost illu strio u s
Loyal Lady o f Justice yes we d o so venerate thee - em b racin g the globe o u r
valian tly robed-W hite Sister - platin um , gold, garn et an d rose adorn ed-
stow ed a s S H E so glow ed ad o rin g o f o u r sco u rin g fates’ load - sw orn nev­
er to be forlorn, be o u r sacred solem n concrete G o d d e ss unabatedly, free
o f scorn."
She loves to Love and reunite the estran ged a s S H E co ru scates eternally
sated via pleasure absent all p ain ; w ithout w ant nor wait therefore gleefu lly
reinstated satiated far from T an talus an d rightfully reallocated th u s never
too late to reacclim atize in rom an tic reacquisition rein carn ated - nor ever
in fatu ated , foolh ardy neither fru strated o r eluding the controversial gates o f
the “ hater" nor the hated; (with all colors) blind to all litanies' corrosively
cau stic co rru p tivity p ro v o k in g d iab olical d eed s d e g rad in g and m a n s lost
d esire’s iden tities’ in du ced m iseries all con flatin g - th u s elevated an d u n ­
scath ed - sh aved-barren sh o res enslaved no m ore - now w ith new w ays
paved an d pure, em an cip ated a s we so ar sp a n n in g aeon s aggregated ro arin g
everm ore - never pleased - k eep in g score - overseein g societies d iseased an d
tore, once seized yet too once serene as b o o ty ’s w ell-earned evened scores o f
Port Royal thieves, w hores, B onn y and bloody bou n ty by b lu n d erbu ss an d
buccan eers galore.

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W ith the highest esteem SH E banged bells tolled as belle and held the
eternal skull and scales at my Yew aside my well; a s howling banshees wailed
raged-assailed purging-im paled and plunging a s their cauldrons, canoes
and canons now slum bering, tw isting-engaged abandoned blunderingly
then enraged em erged am id sm oke filled w inded gu sts’ shrill tattered cursed
uttered lusts’ scourge o f broken oaths* cussed witch whom which I loathed
to entrust - disloyal they do d isgu st thus they Ye hushed and crushed w ith­
out fuss. Once the apathy o f captivity w anes, the epiphanically epitaphic re­
newed sustenance o f carnal captaincy for hustler’s rapidly approaching fast
raiders effusively plastered blasphem ously on kill-devils’ rum in rhapsody
soon becom e crass b astard s evoking backw ards the politics o f con traban d ’s
sum uncloaking civil M astery; whenever lost chivalries’ love is in dem and
tw o-to-one and no longer condescending nor only cacophonously done.
Such m ajestic nobility now balanced - the tender fragility and potent
prowess o f H ER fair granted politesse, oh regal W oman o f antiquity’s best
graciou s gallantry beloved blessedly here confessed, sans disheveling arrest,
so cunningly with love we jest - then with unrest, coiling we profess never
to stop royally foiling the fraudsters pre-soiled plots and quests. Oh Justitia,
La San tisim a M uerte, our om nipotent Godm other, never to disavow neither
ever to spurn thee - ou r burning-biting ju stice infernal within your blessed­
ly eternal phalanges reigns, echoing euphoniously, beauteously profuse - all
sensation now freed o f pain.
Thus, pleasure-bound, edifyingly conjoined, deifying as im m ortaliz­
ing black waxen effigies purloined, circuitously corkscrew ing into vortexes
o f bluish-grey to black-faded sway; thus, flam es reducing form to random
wavy-waxed sim m erin g black-rivers borne shim m ering through our m ael­
strom s as my plasm atic prom ethean propulsions propelled neon-fused
plasm a ectoplasm s electrom agnetically shuttled as their enticingly intensify­
ing-light-gases bubbled ‘neath silken sinewy steam now running in stream s
condensating-cuddled down the thresholds o f our salaciously sweetened
d ream s’ em ulations o f etheric explorations’ serpentine-woven seam s - c a s­
cading-undulating m utations o f our creations’ genom ic im printed themes;
a s echoing laconic litanies o f my closest liaison s invite epiphany... hand-in-
hand gripped lovingly w hispering - euphorically em phatically dem an din g
thus glistening evoked erratically stoked into descending deafening episodes
choked-ricocheting blissfully the fallen recoiling the bawling sagaciously

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squealing eroticism squallin g o f our darkest dankest dulcet union’s m auling

so appalling.
O ur clever sublim ation as SHE w alks with Prince vindicated; liberally,
stiffening, as copiously Orgone christenings o f ou r transferred em ission s’
subm ission com m issioning lascivious libations lilting conveyed via tactile
tactical transm ission s’ eliciting an end to illicit listening and partitioning.
Now, bonded by blood under will, fire and stone, usurping as we fall
into one by the soun ds o f severing bone, we’ve come, leaching into earthen
burnt blackness we’ve roam ed to here where all (we’re) water and oxygen -
dam ned and dom ed - sheer within an atm osphere o f fear full-blown - leer­
ing clearly insincere tearing leaders interiorly jeer. Boiling your tars - now
burn his ‘HI stool - pull the curtain dousing the bastard gnom e as he drool
- flam e-quenching fame reduced to a stain by freshly sharpened cooled steel
we do now congeal and drain in thy nam e - flesh’s fate-sealed by fire-fueled
desire-unreeled untenable skeins o f pain waned, phatically, pleasures un­
peeled, euphem istically tamed.
So far w eve expanded from a bum p in the night to the Sun’s light here
now - a home unfit for the helpless’ plight (?); the Duat here recreated as
Venus gleam s-glinting sm itten with delight reflecting down to Yesod in the
distance from us aloft in ecstasy’s insatiably cosm ic-tossed ravenous night of
hungered hunter’s reciprocating illum ination down to our spiritual cam p ­
site - granting this savory season’s first new rays o f m erciless m ight as ar­
cher’s drawn bow for Ochosi tw inkles high in the night-skies rippling bright
- to deep below for Nereus and Leucothea to Pomba G ira da C alunga and all
creatures o f the abysm al seas - recalcitrantly im penitent, as above, so below
- free indeed - C arpe noctem - from the expulsion-upward thrusting o f the
aphotic depths, torpedoed into the photic zones we’ve crept through, bereft,
slept-in loved and leapt from now adept - hissing with tongue too now cleft.
D am n sham e, the prey has no gam e, thus hunter’s hungered lusts such
ravenous blunderbuss.
A boy, nor a prin ce... no, for in the rain - I am the greyness and bluff
o f a lost city’s dusk as a scruffy mutt totes his trusty rust-stained blanket
o f com forts into gutters’ stan k-m ust... in the rain; “ dam n love...” - Dike
dam ned flood, dam ned them real good with my love and m ourning d oves...
with naught but charm s o f a lost lad o f the countryside - naught more co m ­
forting beyond illusional intrusion in stride. We’ve lost all pain s awash now

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pleasure swashed within HER rains tossed; well-irrigated, well inspiring

springs.
H arvester o f thy silvery fo g s hidden life-bringing plenteousness; sickle
riseth - am id arid ab om in ation s-
Met hag yea She cometh up-winding inverse from on-high decay caked
coal sulphureted silhouette Jet.-
M y assailing thorny-tail scale-winged black viper who im pales sails, cir­
cling aloft - Wyvere hath com e.-
Log: Date: (unintelligible as received) - M id-entry into my last chroni­
cle, “ infiltration” - their crude m achines o f war staved my darling dark sky-
beast ju st enough to trounce my men, overwhelmed, in predawn m ists, I
was taken, judged and stripped. (I declared) By noon Г11 have me a vessel
equipped (!) and indeed. .. cast, set-out adrift, 'twas by noon this very day
and with rum on our lip - as ye be drubbed with a naked cutlass tar-dipped.
Now back to m ean seas’ squall as death upon our breaths freshly skipped, for
goddam ned freedom we’ve battled bloody still to hear the flesh rip.
So far free from king's clutches, the false tw inkling o f com fort now lent,
the usury moment o f calm , as battle-ready bones and blades pause, their fire
nearly spent. - And lo, thou art am id m adness’ m ellifluousness... - Oh my
darkest dulcet flowers, my blackest iris loves and sweetmeats glow o f loyal
lurid groves, feel me come about as Arktikos yielding honey in ye throes,
with me now w alk tracing interlacing high and bold, yea my love - our foes
mayst thou be dam ned polar pelagic cold. - Thou hast cometh servile unto
none as hands unfold - sam e hands mold taketh in deliverance in all ways
enthroned untold.
Approxim ated Exile Locale: Undetermined; now that we’ve the gold.
(Written in blood) - “We will be back unbeknownst to most, to tear the
heart from the living chest, coast to coast, o f your Jack Ketch, ye all dam ned,
befallen bent, to blackest m ost cussed chthonic curse sent - and be ye blood
too well dam ned four fourscore and deka, or half a score more, plus three
days full well settles a score, X. -VII
With his flailing “ failing-heart” chom ped aside pipe in rum -spoilt
mouth devouring shall I make ye enslaved-tangled deflowering and de­
spoiling o f thy despotism wrangled as ye tyrants forever witness my m azes’
atrocities’ ever-mangled and contorted sweeping clean Lord C h ief’s disloyal
days distorted and carnival o f im perialistic imprecise ways o f justice bar­
tered and aborted.

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Our Dios was gibbeted, soon-after met the cages did he - once at the
helm ... thus now, they’ve a special gibbet torus made of the sharpened bones
of our kin as tines. In that bay it dangle, wait, thirty-three feet high - up-
straight, iron-cage shares view of lighthouse fate with another in M ass, too
with bones, now as bait. Only six men, weakened, with hopes o f West Indies,
no food but for two ducks and what be well hidden only for us both below,
from the second Spanish caper. Also, the king’s ransom - here, aboard, safe
(for now) with me - the k in gs freshly severed head too here, now perched
atop the 23rd sail-m ainm ast of my fully rigged vessel and the vulture alight­
ed o ’er IT; lest astray from these covert coasts... whence through his eyes in
reverse as host be no longer seen our horizons* ghosts and trails served so
keen as to boast - and for eyes and hearts of all men o f bounty and Q ueens
fleets - behold its rotted horrors untold sweet and may they goddam ned
stain ye every bloody merry way and greet ye every greedy gaudy day, to*
hell —yea - henceforth and forevermore; - score: - one - king - down - .
Rather than prolong the inevitable, I shall resume once-after we press
shallow reefs in the blackest night, shivering-timbers when only we two shall
be prepared possessing means by which to reach lands dry, alive, abandon­
ing, safely never awry. You will not find these words in any books of history,
but by now, you will find my name tenfold and some.
What am ber shrieking horrors please and dost thou bid me invoke? Our
bon voyage endearingly creeps beyond all false-fear twining rope, as my
dears’ unthread untrussing swine’s desire into hope ye cope.
My sirens poised to pilot, as I bid my vessel, vestal virgins and weaving
sea-wyvern farewell... for now.-
As advection fog, 1 came over the twisting rage o f the sea’s breakers, now
settling about, calmly ashore.-
Steamy tenuous wings, the spiritual “power o f volatilization”, enflesh,
“perfectly ruthless” in darkness.-
From my left hand spryly riseth o f my golden goblet gaily, the serpent,
his brille met moon-light ro ily -
Wryly in recoil warily tar from ever surfeit; begetting fluidity for effi­
ciency o f “catalytic faculty” in “ hydrostatic equilibrium” as metamorphosis,
all-assimilating, omnivorously and omnifically, the warping otherworldly
audio o f transmogrification commenced, thus launching... (An indescrib­
able crackling-buzz ‘n hiss from afar, foreboding-lurching evermore loudly
closer) - ‘Prrrsssssssxxxzzz... - ‘Zzzsssssssxxx - ‘SSHhhsssssszzz. - Mystic

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 R o b e r t A n g e l o D a l l a Va l l e

m aidens whom once knit now un-purl steam in g tendrils’ helix-whorl rhyth­
m ically bit-by-bit detangling-shedding wit to unfurl aetherically encrust­
ed elements curled skit now sweetly-softly-swiftly purled reconstituting
tassie-Prince am idst w inds o f w hirling lass words m inced, evinced in si­
lence - thus in silence thou be forever cast, alas, be thou unconvincing (?),
whence doest truths declare they’ll now' so purely com eth to pass? - Reveled
paths indigo surfing-Prince blazes relishing-in unflinching un su rpassed,
rem odeling-brood-cast.
Eyes opening, slowly, a s m inute fractions o f light enter UF am id scattered
san d s pranced aground distant lost lan ds’ lanced love be once battered new­
born novel body riseth an d rom anced - kissed to cold-ivory, candied-pears
sweet pearly-gold an d copper-toned flared flesh o f breasts boldly flowed-roll-
ing pressed to heat o f m ire s m oonlit caress o f grass steam s sweat, for thirsts
o f beasts with no regret; - m ollycoddling-enlivening hum id n igh ts once
lan guorous lungs o f shrieking scream s' desire met with suppressing fret -
to the jetty (!), raise arm s sky high breathe deep m oored to new berth and
prepare afresh to pirouette.
D aun ting dueling dodgers croon as bon dages’ serenade suspended boon
kicking to the m oon in-love with Sun ’s sooth in g aureate gold as writhing
w aning ingot burning ever-closer loving scold. At my behest She so com ­
m enced poured a prayer o f wicked deeds dared fixed for darkest dem ure
M other o f blackest N yx-m ysteries shared pixyish and all ye golden A stra
seeds fared “ heavy-laden” peering past Her aureole o f blackest merciless
m ists united under creed thus finally freedom -kissed.
Thy lustral day had cometh swift an d so She brayed and bellowed
m iffed, indeed in need o f breeding seed bleeding into phantasm agorical fog
that which lifts, devours and feeds, via ever-twining tendrils* steed o f nimble
m ounting m are and stallion ’s need ‘neath m orning grey sk ies’ dueling d espi­
cable deed. Black M ajestic M oon loops-snaking as we prepare to devour Her.
At Her request 1 m ust confess as I move to intrigue you, I’m running fleet
with the w ind if I rescind She coups and coos boo-hoo.
Black shades o f my once w eary women plait as pale shadow ’s braided
pitfalls wait for thy dragon-Q ueen o f death’s illusion astrophysical fate -
Serpentine, w inged, posterior-rattling, coiling, anterior-beaked. Blood spun
o f our m atriarchs o f whom weave risen and now com e still shunned - their
spindles dithered unreeled undone bartered for the roulette gun o f M iss-for­
tune on the run unspun, their only consolation - the new love to now be won

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 A n A u t o m a t ic W r it in g P r o v o c a t io n : J u s t it ia O m n ib u s

- as thy Hippocrene creme bred anew too few m asculine ebb and dream,
Phoenix fed upon em bedded frankincense tears-newlywed within the
limestone b ed ’s fog-oasis w oodlands” northern coastal m ountains, already
mulcted and bled. Rosette wings o f golden-rosy wickedness fanned paling
pyres as sulphuric-sonic shadows grow for she who siphons dragon’s cove,
as my Sapphic sapphire sultana’s sunrise goes down on me glowing slow...
In glory aghast, oh such luscious delicacies - oh sweet m eridians - rock-
on ancient rocket-queens and fiends o f stone temples who failed kissing all
who pale in thy sh adow s burnt grace, grottos, groves and debauched dream s
unveiled our vessels sail. - Dodged being bogged by blankets of sm og as
upslope-fog ascends im m ortalizing saddles blazoned upon rivers o f steam
to Mount Penglai astride nascent wings o f steed we glide serene... and now
with coronated Queens.
Was the boy a prince or the prince assum ed a king’s fool? A beggar
of banquets once lost he’d have some seem as a rule, o f these fading finite
functions at their juvenile juxtaposed junctions where he’d often play this
fancied frantic fool sum ptuously ram bunctious - yet only as a rule, as osten­
sible actor o f infamy and conversely controversial assum ptions debated only
for the duel. The essences’ m alaise of my im petus’ balance for adversaries
bore unpredictability into obsequiously sweet piercing servility - by my gut­
ting glaive gouging eviscerating eyes agaze hazing we trum p ablaze rising
into rays razing in our golden-domed chaise seen from darkening doom ed
chalets.
Shadows fall. By the valiance o f our vel’s vendetta, Pandora, impaled
upon my trishula, even her hope - unadulterated wickedness now com ­
merce. Most secrecy long reserved for navigation and war therefore - We
determ ine where in “tim e” we’ve com e - bv the shades’ straddle and sum o f
the Sun’s aging rays and causal finite hum.
Soon after arrival revived and post all reprisals contrived we descend
and loom upon these once arid dunes now to bask relaxing careening we
swoon as we’re m eandering harm oniously - our geometries well-attuned.
As falling-stars continue burning-out into the high noon sun each day aloft
HER sanctuary; HER tattered tattooed past now as love and lace pressed to
glass coos just smoky whispers through wax and apples passed blues.
All hum an faces seen are now fitted-well tailored flesh with often over­
whelmed hearts tortuously meshed, vortexes, within the presence o f my
gest, everlasting enthusiasm s, detangling, abreast, as former impressions

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 R o b e r t A n g e l o D a l l a Va l l e

once left - now only savored Satu rn alia reveling in my p sy ch es am brosial

nests, and to som e like webs tor pests.
Enthralled, yesss, once H ER p u rrin g nim bu s burns h um m ing - Her
com elin ess enslaves the profane pioneer; now, buzzing in Bacchilian splen­
d o r... the M istress o f all cataclysm s incensed, with head thrown violently
orgasm ically backw ard - eyes-glazed beam in g crim son SH E despairingly
hissed - “glam o u r is everything to the dow ntrodden city am iss now pissed.”
Periw inkle’s penitential pious purple is profaned wherever d isord er’s
cognitive-dissonance thrives and dishonesty’s discord aboard is thus h ar­
bored collectively in accord. A n d so fell the blinding-blur o f violet vestm ents
kissed to the icy-cold groun ds o f northern lan ds once m issed lost now d e­
frosted found freed and unbound. For the “wretched refuse” and “ tem ­
pest-tossed” - the “M other o f Exiles” and keeper o f the lightening - inviting
the lost - SH E both beckons all and only one, the just.

Robert A ngelo D alla Valle

Tribe o f Black Boar *
Temple o f the Trouncer ▲
T.O.T.T. o f T.O.B.B. - ©2013

“N ature often u ses illusions o f this sort in order to accom plish its secret
pu rposes. The true goal is covered over by a phantasm . We stretch out our
h an ds to the latter, while nature, aided by our deception, attains the former.
In the case o f the G reeks it was the “w ill” w ishing to behold itself in the
work o f art, in the transcendence o f genius; but in order so to behold itself
its creatures had first to view them selves a s glorious, to transpose them selves
to a higher sphere, without having that sphere o f pure contem plation either
challenge them or upbraid them with insufficiency. It was in that sphere o f
beauty that the G reeks saw the O lym pians as their m irror im ages; it was by
m eans o f that aesthetic m irror that the Hellenic “w ill” opposed suffering and
the som ber w isdom o f suffering which always accom panies artistic talent.
A s a m onum ent to its victory stan d s Homer, the naive artist.” — By Friedrich
N ietzsche from The Birth o f a Tragedy - W alter K aufm an n translation.
Depth A photic: A ndroctonus - Third Totem- ©2012
A utom atic draw ing: C lassification В - V II1/V I. M edium : O riginally
captu red in green calligraphy pen ink on white parchm ent, now, here in

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 A n A u t o m a t ic W r it in g P r o v o c a t io n : J u st it ia O m n ib u s

2013, presented in lavender on black exclusively for readers o f Sabbat ica, Ne-
philim Press.
Due to limited space here, complete bibliographies, footnotes and oth­
er organized relevant inform ation is necessarily reserved for my full length
works, beginning with The Enchiridions o f a Black Eremite: Volume One: A
Contem porary Study in M edium istic Autom atism as an Initiatory Vehicle:
Pylon 0-1.
Nevertheless - briefly and noteworthy:

E n d n o tes

1. A s defined: “The empirical method is generally characterized by the col­

lection o f a large am ount o f data before much speculation as to their signif­
icance, or without much idea o f what to expect, and is to be contrasted with
more theoretical m ethods in which the collection o f empirical data is guided
largely by prelim inary theoretical exploration o f what to expect. The empir­
ical method is necessary in entering hitherto completely unexplored fields,
and becom es less purely empirical as the acquired mastery o f the field in­
creases. Successful use of an exclusively em pirical method dem ands a higher
degree of intuitive ability in the practitioner.” - Source: Percy W. Bridgman,
Gerald Holton, “Em pirical Method.”
Tile Empirical M ethod - as defined above; - Note; data, their signifi­
cance, expectation, theoretical and then into “ unexplored fields” in pursuit
o f total “m astery” and most significantly, this “dem ands a higher degree of
intuitive ability in the practitioner.” - These characteristically closely paral­
lel com ponents o f my own em pirical methods o f randomized articulations
and “ drawing-lots”; with the exception that, the only “ intention” 1 may ever
employ is to be unguided therefore Untainted by other collective and indi­
vidual human theory or previously paved perceptions as “theoretical” paths,
as methods; so restrictive and tainting to on es purity o f intuition and per­
ception so very often are they. No scientific method beyond the complete
m astery o f the self, via intuition under will, is necessary. - In fact, I “back­
track” later, after the fact, rather than am I ever initially guided by m an s
soporiferous socially-approved accoutrements.
My lifelong ever-evolving methods, o f which, unlike the traditional
scientist, utilize intuition wholly throughout every single creative and ex­
ploratory process from the subjectively initial experience, to the publicly
pragm atically empirical evolving into the potentially objective confirmation
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 Ro b er t A n g e l o D a lla Va lle

of the experiment therefore, “mastering the field”; as our machetes trailblaz-

ing new paths beyond the final frontiers. Nearly all o f my creative “actions”
are far from ever an impulsive guess, never impatient neither nor doubtful
are they oppressed, however entirely automatic nonetheless, thus everything
is received by blood be blessed. Very early-on, this then also intuitively, nat­
urally matured (mutated) necessitating the inception and perpetually evolv­
ing sufficient methodologies, models, tools and sciences of exploring that
which is perpetually received. As a metaphysically-endocrinological for­
ty-plus year physiological engineered transparent-force of action, a vital in­
tercessor and extension as metaphysical appendage or glandular o f creative
transmission protruding from the aura in-to the aether, the effective balance
o f which sustained requiring varieties of passion uncontained. Regarding
my own scientific methods o f experimental and applied (esoteric) scienc­
es, the aforementioned is an extremely accurate though briefly defining
synopsis in which my aim as intuitive creator-practitioner-scientist-skep­
tic, within this context, involves absolutely no expectation o f the observers
experience, positive, negative or lack thereof. Seek no societal justifications
o f (perception-altering) theoretical pre-exploration as reassuring guide. In­
stead (remove the training-wheels), self-empowered systematically further
enable the vehicle and utilize intuition as the very initiatory means and cat­
alyst by which to pursue, gauge and either confirm or debunk any theory;
with highly practical backward-winding reverse forms o f divinatory resolu­
tion. My science or (what is labeled as) sorcery are, sans bells and whistles,
the natural “Arts and Sciences o f the Truths of Nature.”
The (enabling) basic results (as expectation) in pursuance of par excel­
lence exploring the (viable) “perceptibility” nature and potentiating prob­
ability o f my intuitions, their experiences and the subsequently-resultant
empirical methods necessary to further evoke (surf) such paths o f sybaritic
seraphical sentinels and diabolical denizens, to constrain and deeply explore
them, and (optimistically-speaking) perhaps your own, are revealed amid
my mediumistic automatic creations as a wide variety o f writings, draw­
ings, paintings, poems and sculptures in-practice elucidating my exercises,
as the now refined and catalogued cumulative end result having mounted
- the full devotional processes retrieved, extracted and documented, from
the intimate initial pythonic trance-transition into transmission to the on­
tological phantasmagorically constrained, guided to final fruition of which,
are housed, expounded and espoused within my enchiridions aflame. My

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 A n A u t o m a t ic W r it in g P r o v o c a t io n : J u s t it ia O m n ib u s

neoteric em pirical m ethods applied to the “C on tem porary Study o f M edium -

istic A utom atism as an Initiatory Vehicle” introduces an original, practical
and essential tool as m odern exposition, in Volume O ne o f my Enchiridions
o f a Black Erem ite; totally unrestricted thus intuitively highly eclectic.

2. Environm ental, sociocultural circum stance, m im esis and the “sense” o f

experience observed via the trial & error o f the em pirical scientific-m ethod,
their obvious econom ical, religiopolitical and culturally bias influences im i­
tated, are NO T, as were previously and even still presum ed and propagated,
solely the factors, presently engendering o n e s “circum stances” - but it is
now proven that biologically inherited traits previously unconfirm ed, via
genom ic im printing and our D .N .A .s ever-winding paths, in synergy with
the former, IS. - Rise o f the holism o f atavism .

3. Regardless o f any “source” o f creative inspiration or purported epiphany

and independently o f com m ercial/industrial pursuits, an in d iv id u als arts
m ay often subtly reflect the layering o f the restrained and then very soon -af­
ter fleeting m otifs and qualities o f an y great etheric liaison o f love or ephem ­
eral em issary o f ecstasy alw ays resonating forever entangled, re-arriving or
respectfully resounding, returning reform ed thus reaffirm ing, com m unicat­
ing, random ly navigating always anew within the vessel as tangible atavism .
- By my definition and within this context, revealed via the greatest scien­
tific-genetic breakthroughs o f the last two decades, objectively, also realized
subjectively biologically and highly esoterically; the atavism is an extension
o f or representation resultant from both the biological (epigenetics/genom ic
im printing) and (into presently) non-biological (meme) elements d ynam i­
cally and synergistically resurfacing, recalcitrant, refiltered, recalibrated for
today th us refined, reflected and projected throughout the consciousness
o f the creator - redefined. - Literally B ridging the Physiological (past) TO
the M etaphysical (present-future). The atavism now harnessed under will
absolute.

4. N ote that with regards to Themis (as Mother) and The M oirai, that in H es­
iod, Theogony 211 ff (trans. Evelyn-White), the M oirai are also revealed to be
the spaw n of, in this particular, the virgin birth o f N yx, “though she lay with
none”, as quoted. Both 901 Re; Them is (whence w ithin the poem which here
redirects) and 211 noted here, are translations o f Evelyn-W hite - and clear
contradictions not uncom m on within this context. W riters (especially later,
post-H om er) inevitably becam e everm ore (experienced) creatively indulgent

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w ithin the innately and uniquely hum an em otional ch asm o f the ro m an ti­
cism o f th ean th ropism , or god -h u m an ism , by placin g the M oirai as either
the daugh ters o f E reb u s/N yx, O cean u s/G e, A nan ke, N ecessity o r C ro n os/
Nyx, as “ the daughters o f n igh t” - o f the prim ord ial N yx (night) w hom H er­
se lf w as the daugh ter o f K h ao s (air) and thus here replaces T hem is (as Z eu s5,
2nd wife) a s the M other o f the Fates - the “w ill” o f whom none can escape*
no m ortal nor im m o rtal - by som e perspectives, not even Z eu s; however by
early H om eric account there is far less inflexibility as (a m ore h um an ized)
Z eu s both plays an active role in d ish in g out fate as well a s can he (appar­
ently rationalize/sym path ize) determ ine to alter o n e’s fate independently o f
all. A s the actu al god ru lin g o f the fates, Z eus w as know n as M oiragetes
m ean ing - leader o f the fates.
The later and naturally evolving an th rop om orp h izin g, as the h u ­
m an -q u ality o f th eanthropism , as an attribution o f paren ts to these stereo-
typically ruthlessly perceived M oirai (collective-goddess-trinity-force o f
fate[s]), epitom izes sen tim en talizin g hum an -nature, however h u m an izin g
(cute), typically sp eak in g, not that o f the ancient Fathers’ (especially not)
Hom er, Plato, A eschylus nor H erod otu s’ sensibleness in logic; albeit A eschy­
lu s’ insistence upon stron g sp iritu al affinities d om in ated , placin g the divine
entirely before the socioecon om ic, which he never m entions particularly re­
gard in g D ike, yet just for one exam ple, he did w rite o f the "‘d ivine (theai)”
a s the M oirai and yet, having N yx as their M other, from E um en ides 961 ff,
resultant from h u m an izin g (m em e) influences. H esiod in Theogony eludes
the follow ing subject however T h em is’ role and existence, for the era, m ay
well have been deem ed sim ply n ecessary for Z eu s, a s m ate, com plim en tary
a s consort. W hen Z eus unites w ith The M oirai, the event like all others is
done for the citizen s benefit entirely, so cio econ om ic & hum an-interest, not
necessarily logical, certain ly not godlike. Such ch aracteristics arrivin g w ith ­
in any creation are nearly inevitably reflective o f the im age, m em es and p er­
ception s o f the creator. For A eschylus with E u m en ides 360 ff, an d others,
con tradiction is also ram pantly naturally-chaotically com m on place, a s here
he (Aeschylus) has the cooperation directed o f the O lym pian s and Erinyes
appoin ted by Zeus, rather than The M oirai thus con trad ictin g him self; albeit
granted, being related to all, Z eu s w as overu sed a tad and a “fill-in” o f so rts,
therefore, in actuality A eschylus m ay have been inadvertently or perh aps
sim ply deliberately, d e-h u m an izin g the M oirai, (rebalancing) having m ade
them less com m un icative and socially inept without hum ane am b assad o rial

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functionality by com parison to other fleeting notations, thus In essence re­

storing balance and elevating them m ore-so am biguously divine and thus
beyond the stoic stifling sophistic hum an condition. The profundity and
perspicacity o f such subtleties laced abound, as Spiritual W arriors escort
truth, enabling those o f the stone tem ples and celestial abodes far-reaching
into new worlds and other dim ensions. H ail Tahuti.
For what good in reason com eth o f celestial sowed seed o f go d s to fields
devolved likened unto m an (?) - be not for delegation, com m unication, ini­
tiation, navigation o f apoth eosis and understanding in-com m union without
doubt neither hesitation.
Regardless o f term inology used, therein the O lym pian pantheon laid
forces lurking which (self-replicated evolving to usurp) suppressed true “na­
ture w orship”, instead, due to purported “progress” (poetry, philosophy and
politics), the focus grew to becom e increasingly theanthropistic therefore
driven tow ards the elevation o f the hum an (ego) role within the pantheon
itself, effectively hum anizing gods and goddesses; no doubt the forces noted
above are here benefactors in relation to the ego o f m an, as in concert, there
is much to be unethically and unlaw fully justified once the truth o f divinity
is rearranged corrupted-stained by the profane tainted principle, perception
and m em ory o f m aniacal m an deranged and sham ed. Today, as positive pro­
gressive global exam ple, the A frican D iaspora exem plifies the ever-evolving
“ balance” rather than the corruption o f theanthropism when m isappropri­
ated, sim ply overused for convenience or the arrogance and greed o f the
sm ug and content. A n im ism , Totem ism and Theanthropism are culturally
creatively ever-present, today revivifying, reconstituting strong and resur­
rected as the “collective rise o f the holism o f the atavism ” ushers empathy
and progression. O ptim istically speakin g, theanthropism is sim ply a m eans
by which to im prove (com m union) understanding, living, loving, dying,
and renewal - the tools o f the am bassador, ancestor and liaison. M ytholog­
ical interpretative sem antics and characteristically fleeting perceptions o f
the artist/w riter/creator naturally develop and overlap, nonetheless, overall
an identifiable (frequency) genesis having independently also arrived and
evolving w ithin early western ideologies emblem atic o f the nobility and im ­
petus o f the neoteric holy death folk religion/cults an d its iconography. One
o f m any such ancient Indo-European culturally “received” efficiency-mold­
ed truth and justice fueled religiously-philosophical and socially necessitated
hum an/spirit con stru cts o f fate, still very actively with us today - Necessary.

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Hesiod, Theogony 211 ff (trans. Evelyn-White) (Greek epic C8th or

C7th B.C.):
“And Nyx bare hateful M oros (D oom o f Death) and black Ker (Fate o f
Death) and Thanatos (Death), and she bare H ypnos (Sleep) and the tribe
o f Oneiroi (Dream s). And again the goddess m urky Nyx, though she lay
with none, bare M om os (Criticism ) and painful O izys (M isery), and the
H esperides (Evenings) . . . A lso she bare the M oirai (Fates) and the ruthless
avenging Keres (D e ath s). . . Also deadly Nyx bare N em esis to afflict m ortal
men, and after her, Apate (Deceit) and Philotes (Sex) and hateful G eras (Old
Age) and hard-hearted Eris (Strife) ”
Nyx, D ark M other o f H ypnos, Thanatos, the Tribe o f Oneiroi, the Er-
inyes/A rai-Curses and the torch-bearing Hekate - the “daughter o f great-bo­
som ed Nyx.” - The latter according to Bacchylides/Fragm ent lb.
ETYM O LO GY

5. The Greek M oirai: PEPRO 'M EN E (Peprdmene), namely etopa, that is, the
share destined by fate, occurs also as a proper nam e in the sam e sense as
M oira or Fate. (Paus. viii. 21. § 2; Horn. IL in. 309.) Source: D ictionary of
Greek and Roman Biography and Mythology. - The M oirai, M oirae’ or Mo-
erae, in Greek M oipai - from m oros (doom-fate, destiny), and from (era : ca.
800-100 BC) Ancient Doric Greek meiresthai - to “receive one’s share” and
correspondingly-equal to the Roman Parcae, the personification o f destiny
or as the sparing-ones, Fata/fate an d by som e accounts (Tibullus i. 8. 1. and
O vid ad Liv. 239), all Three “spin.” The latter no surprise, when all three are
also acting collectively as one, and considering the instinctive transcultural
necessity o f “spinning”, from the W hirling Dervishes to the Ba G ua Dao-
ist. A lso, equaling the om nipotent maiden giantess trio o f the G erm anic
N orns, which here specifically includes - 1. Urdr, 2. Verdandi and 3. Skuld
- whose collective natures as Fates were also woven intertwined, becom ing,
the latter, a term also as ancient verb and concept at the root o f each o f their
nam es. The Old N orse verb verda, “ to becom e”, is the etym ological source
o f 1. Urdr-past-tense - “becam e” and 2. Verdandi-present-tense - “ hap­
pening”, with 3. Skuld, o f the verb skole/skulle translated as “need to-shall
be” or “ that which should become-or-needs to be ” Entangled-intertwlned
even am biguously so, contrary to any “tim e” constructs, as collective - the
Greek word m oira (polpa) = portion, as She partitions, collectively (as 3)
as the m atriarchal om nipresent “SH E ” whom partitions thus apportioning,
synergistically as, - the Greek “Fates” - A tropos (unturnable), Clotho (the
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spinner) an d Lachesis (the allotter). Their R om an Parcae equivalents acco rd ­

ingly M orta (death), N on a (ninth) and D ecim a (tenth), also corresp on d to
the E tru scan G od d ess o f fate, N orita, the Rom an G od d ess F ortun a and also
to the R om an G o d d ess o f inevitability - N ecessitas (the inescapable, her
sym bol the brazen-nail in use parallels that o f the G reek life-thread spun), to
the Lithuanian m aterialistic fate G od d ess D alia and the L ith u an ian /L atvian
L aim a a.k.a. Laim e an d/or L aim as m ate in Latvian - three in one, deem ed
“the three L a im a s”, as with Her two sisters D ek la and K arta, whom like the
M oirai and N orn s express their benevolence as patronesses o f childbirth,
also shape the necessary trinity o f their fa te s divine efficiency, as person ­
ifications o f life, death and luck. A nd onto the Greek G od d ess o f all Fates,
A nanke/A nance, the epitom e o f “scientific d eterm in ism ”, and corresp on d ­
ing to the A vestan A sha (a$a) or A rta, a s the unalterable im petus and neces­
sity o f natural fate and force o f destiny, order, truth, balance, harm ony, law,
ju stice and thus constrain , as Necessity. Efficiency an d Truth are ever-pres­
ent them es propellin g the pu rsu its o f such developing necessity. From the
m acrocosm ically universal balance, ju stice, virtue, order and truth o f the
G reek G od N ereus, the ostrich feather o f truth (Shu feather) set again st the
heart (soul [Ka]) upon the scales o f the E gyptian G o d d e ss M a’at and then
via M aat K heru, if “ ju stifie d ”, entering the D ual - (or ju st w in n in g a civil
trial), to the Vedic Rta (true) “order and tru th ”, to the “order and tru th ” o f
the Avestan m oral c o d e s Z oroastrian “confessional concept” o f their truth
and righ teousn ess theological sphere o f asa/arta; respectively the Vedic (rta)
and Avestan (arta) via lexicon an d ideology are repeatedly paralleled as the
source an d path o f truth historically an d tran scu ltu rally w ithin expression,
conduct, etym ologically an d here as defined: The Avestan asa/arta = “tru th ”,
which corresp on d in g to and translated into the Vedic haithya = “tru e” - and
the polar opposite o f both rta / haithya and a§a/arta, o f which for both being
druj, is also within both lexicons translated into the term “ lie.” Serv in g the
m aintenance o f the integrity and necessity o f truth an d justice, m ortals as
well as deities m ain tain a m inim al influence upon these fates and at the
m om ent o f death, fate itself extin gu ish es as the M oirai becom e the M oirai
Thanatoio/or D anatoio, “god d esses o f death.” In contrast for som e, to the
inevitable end o f life fate an d T hanatos o f the M oirai, here com paratively, is
a less com m on exam ple inclusive o f A phrodite; relative to the patron esses
o f childbirth as a fate an d also a result o f Eros, a s is here indicated within
the - O rphic H ym n 55 to A phrodite (trans. Taylor) (Greek hym ns C3rd B.C.

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to 2nd A.D.): “The triple Moirai (Fates) [as birth goddesses] are ruled by
thy [Aphrodite s] decree [as the goddess o f procreation], and all productions
yield alike to thee.” - Here the latter with intent, further establishes a clearly
benevolent representation. Also relative here to Aphrodite is that the corre­
sponding anim al, unlike the white turtle dove o f Demeter, Aphrodite and
aspects o f Safekh-Aubi and Sefekh (393), for the M oirai, is considered to be
the more common dark-greyish turtle dove variant. The Fates also corre­
spond to the Hesperides, or the “ daughters o f the evening star”, their golden
apples and enticing incitement o f dark powers, misery, fate, and strife - via
Eris (Strife) — came the infam ous apple-spell, inscribed “For the Fairest”,
which effectively precipitated the Trojan War.
6. Vedic Sanskrit and Avestan/Old Iranian - very fruitful siblings, the for­
mer is the eldest originating from the latter's Indo-European comprised
fragments of linguistic-reconstruction. Both etymologically, as interpret­
ed here, embrace closely evolving variants; such as old San skrits Atharvan
= fire-priest, o f lightning, and Atharvans = priests o f the celestial fire-god
Atar, a.k.a. the lightening god, and in Persian Arthvan = priest, which then
later becomes Brahm in or brahm ana. Avesta priests prided themselves as
Athravans or Atharvans, o f the fire-cult; they who tended the sacred fire.
Also, the fire gods Agni and Atharvan are both separate entities, and both
are known as the Lord o f Lightning. And as the earliest panacea as a form
o f the internal elixir o f life and source o f alchemical elixir vitae traditions o f
ascetic sages from India traced to C h in as D aoist’s psychogenesis into Islam
onto Europe and Roger Bacon; the Soma priests preparing the sacred en-
theogen-elixirs o f im mortality (of Amanita muscaria) to commune with the
gods, were also known as Atharvan(s). “Atharvan” is also revered as the In­
dian equivalent and actual origin o f the Prometheus archetype. The Avestan
key component o f Asha corresponds to the Sanskrit root URTA” delineating
the "eternal law and order” o f the Righteousness and universal law of Truth.
And the Avestan aSa/arta (or asha) which = “truth”, in English is “Asha” and
= ‘Esh (or aish - N&’) in Hebrew which = fire, and which is ‘Eshsha or ‘Eshsh
in Chaldean (cf Sanskrit ush to burn) and = Asha, & Aram thus = Fire. Asha
(cosmic-order) is also defined as wish and as Hope used as a commonly giv­
en feminine name, its also translated to life in Swahili and to some Hindus
it is “gift from the gods” - as ASHA (3fT?JT): The Indian derived term from
Sanskrit ЗТТ9ТГ (asha) meaning wish, desire, and hope, therefore clearly d is­
playing how these conclusive similarities also include mimesis. Promethean
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precursors prospered and proliferated. Here, collectively and individually

sim ultaneously fluid anim ations as vitally iconic actions within M alkuth
as cultural and astraJly~$ymbiotic m anifestations outside o f "tim e” and/or
evolving as icons serving as necessities o f universal Efficiency, for “order”
and morally, elementally as deities, ideologically; their intrinsic origins are
also all-inclusive o f the "biological” - epigenetics, thus invariably universal-
ly-colLective forces as concrete blood transm issions - transcendent all m an ­
ner and matter o f space-tim e, culture and perhaps even initial intention o f
man. Truth and Justice are here ablaze via the individual, the priest, with
the divine, quite synonym ous with the dynam ism o f the eternal blood o f
Fire. Also relevant to asha/esh; Note: From E asto n s 1897 Bible Dictionary:
Eshbaal man o f Baal, the fourth son o f king Saul (1 Chr. 8:33; 9:39). He is also
called Ish-bosheth (q.v.), 2 Sam . 2:8. Also, noted in Smith 's Bible Dictionary
as: (B a a ls man), (1 Chronicles 8:33; 9:39) the sam e as Ish-bosheth. And last­
ly, from Hitchcock's Bible N am es Dictionary (late 1800’s): Esh-baal, the fire
o f the idol, or o f the ruler.
By efficiently eternal flam es’ (lightening-fire) truth s (eternal law) our
ancestor’s (priests) word in blood resurrected forevermore reigns.

7. The Avestan deity M ithra (i.e. covenant/contract) is an impenetrable en­

forcer-god o f the integrity o f law whom consequently preserves/protects asa/
arta exactly as the Rig Vedic Mitra also preserves/protects rta - therefore
they’re nevertheless independent/self-reliant yet too sim ultaneously inter­
twined, collectively entangled - as they're indistinguishably serving - pre­
serving and protecting - the sam e precise current(s)/force(s) o f truth indeed
evolving as does the elegant all-enabling & often overwhelm ing construed
truths o f the Egyptian G oddess M a’at. Truth is therefore exoterically, eso-
terically, historically and culturally both subjectively and objectively tran s­
mitted thus categorically breeching all boundaries - universally received,
physiologically, metaphysically and space-tim e independent. - ^Additional
bibliographical sources for number Five, Six and Seven (in Etymology) also
include; "Civilization o f the Eastern Iranians in Ancient Tim es: The Old
Iran ian ...” By Dr. Wilhelm Geiger, translated from G erm an by Durab-Das-
tur Peshotan Sanjana, London, 1886. "The Journal o f the Royal Asiatic Soci­
ety o f Great Britain & Ireland”, London, 1893. "H istory o f Z oroastrian ism ”
by Dhalla, M aneckji Nusservanji, New York, 1938 and “ Heraclitus and Iran”,
History o f Religions by D uchesne-Guillem in, Jacques, 1963.

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8. Re; Greek Atropos: in Greek Атролод, “without turn” (m eaning She can­
not be turned or avoided, and not contrary to spinning), was the inflexible
one and eldest o f the M oirai trio - and from Hesiod, Shield o f Heracles 258
If (trans. Evelyn-White) (Greek epic C8th or 7th B.C.): “ Klotho (Clothe) and
Lakhesis (Lachesis) stood over them, and sm aller than they was A tropos, no
tall goddess, yet she it is who is eldest o f them, and ranked high beyond the
two o th e rs” - SH E is unequalled, ou r Lady. Uniquely paralleling A tropos
is the Lithuanian G oddess o f death Giltine the Reaper - a.k.a. KaulinyCia,
M aras and black-death/plague - Her totem the owl, She is associated with
Laim a (fate/luek) a s a sister. Correspondingly also is the Roman M orta, to
the Roman “o rig in al* G oddess Fortuna Prim igenia and to the Etruscan
w inged-goddess version o f A thrpa, the latter also using the ham m er & nail,
thus influential to the later Roman G oddess Necessitas. - A tropos = can ­
not be turned, and had in various accounts possessed either a sundial, the
scroll, a wax tablet, or the scales, and is exclusively depicted as the “ fate”
with shears whom actually quantifies and determ ines all circum stance of
death and a “Holy D eath ”, by cutting the figurative thread o f o n e s life solely
unassisted, as o f the three, Clotho = spinner and had ju st a spindle thus She
only spun this thread and Lachesis = disposer o f lots, whom held a staff/
scepter, directing it to the horoscope, and She merely m easured the thread
o f life. W oman of the ju st blade, ways o f the Old N orse - “ becom ing”, path
o f the sickle-green, w arrior and harvester of souls.
Atropos is also the origin o f the natural entheogen and m edicinal tro-
pane alkaloid genus o f the Solanaceae family, termed Atropine; - extracted
from m andrake, belladonna/deadly nightshade, an g e ls trum pets, datura,
ail eleven species o f henbanes and m any others. This Solanaceae (deadly
nightshade/solanum -potato) family also involves an exquisitely broad range
o f (40+) genera which includes potatoes, capsicum /chili pepper, tomatoes,
eggplant and tobacco, to the longevity-boosting super-antioxidant wolf-
berry and the once thought to have been extinct now critically endangered
species o f M. begoniifolia o f the genus M ellissia. From ancient to modern
tim es, the agriculturally necessary, nourishing and essentially edible, to the
metaphysical, to m edicinal, the clinical, critical, or for the beautician, to the
witch or sham an, Solanaceae was and is an all-encom passing fam ily o f b o ­
tanical bliss.
“All things are poison and nothing (is) without poison; only the dose
m akes that a thing is no poison.” — Paracelsus, 1493-1541

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“Nox approaches: a garland o f poppies binds her peaceful brow, black

Som nia trail her.” O vid, Fasti 4. 661 ff (trans. Boyle) (Rom an poetry C ist
B.C. to C ist /\.D.)

This concludes;
An A utom atic W riting
The Poem
-Provocation: Justitia O m nibus-

Holistic Healthcare H as No Obstacle

“B ridging the Physiological T O the M etaphysical” - providing an eclec­
tic range o f holistic health services to thousands o f individual clients for
over 20 years, ensuring success and longevity via the consistency o f profes­
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For private-individual or group consultation and other various physio­
logical or m etaphysical services inquiries, email: rdallavalle@ optonline.net
or contact Robert privately on Facebook regarding any questions that you
may have, whether your goals are Physical or Metaphysical.
Forthcom ing 2013 - The Enchiridions o f a Black Eremite: Volume One:
A Contem porary Study in M edium istic A utom atism as an Initiatory Vehicle:
Pylon 0-1 - including the treatise and art - 393 Sefekh, the C on sort o f Thoth
- excerpts including various art o f which, may be found in the Qliphoth
O pus 1 Esoteric Publication and Qliphoth O pus II Esoteric Publication.
The E.B.E. - A serious m odern-day inquiry and initiatory journey sp an ­
ning several decades into neither-neither realm s o f trance induction includ­
ing oneirophrenia and endocrinology to entheogensand psychology utilized
in ritualistic m edium istic autom atism creative ventures, em ploying various
system s o f sexual m agick, Orgone and the renascence o f the atavism . Onei-
rocritical-oneirom antic traditional to contem porary solitary initiations and
critical explorations into the anthropology o f art and religion including a n ­
im ism , totem ism and anthropom orphism via epistem ology, cosm ology and
ontology, with veneration are observed. ♦

Love,
Robert Angelo D alla Valle

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 R o b e r t A n g e l o D a l l a Va l l e

Labels only afford the com fort o f know ing, where intuition has failed to
have been received.

To “ doubt" another is the way o f the self-saboteur as well. All doubt is

deception; know this in all ways, always.

Pomba G ira da C alunga © - One third o f a triptych - A utom atic draw ­

ing - Classification A: III Reserved/gift and here depicted within an initial
thus transitory and unrefined state revealed only via pen-etched India ink
and m achete-etched blood, later m isted with cotfee, espresso, various rum s,
rosewater & honey, with Love, upon Southworth fine coral parchment, 8.5”
x 11”.

All concepts and creations, written and visual - ©Robert Angelo D alla
Valle - ©1971-2013

-Love, R.A.D. o°
XXX

-Robert Angelo D alla Valle - all creations ©1971-2013

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