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Noxaz

Primal Current
Volume 1
The Black Serpent Series
Arranged by Edgar Kerval
Edited by Timothy
Become A Living God
Copyright
© 2019 Become A Living God
All rights reserved. No part of this publication may be reproduced,
distributed, or transmitted in any form or by any means without written
permission of the publisher.
Noxaz: The Black Serpent Anthology, Volume 1

Orders
View a complete catalog at: BecomeALivingGod.com.

Disclaimer
Consider this adult knowledge, and not legal or medical advice. Become
A Living God is not responsible for consequences of actions. This book is for
readers of age 18 or older.

Credits
Authors & Illustrators: Asenath Mason, Bill Duvendack, Linda Falorio,
Abby Helasdottir, Michael Kelly, Humberto Maggi, Sean Woodward, Dennis
McCambridge & Joseph Curwen
Editor: Edgar Kerval
Editor: Timothy Donaghue
Publisher: Become A Living God
CONTENTS
Edgar Kerval - Primal Current
Illustration #1 - Dennis McCambridge - Milk Moon
Ch. 1 - Asenath Mason - In the Silver Waters of Qulielfi
Illustration #2 - Joseph Curwen - Feasting Succubi
Ch. 2 - Bill Duvendack - The Maya of the Qlippoth
Illustration #3 - Dennis McCambridge - Hekt
Ch. 3 - Linda Falorio - Dark Star of Chaos Lafcursiax
Illustration #4 - Abby Helasdottir - Azazel
Ch. 4 - Abby Helasdottir - The Vine of Sodom
Illustration #5 - Dennis McCambridge - La Anah
Ch. 6 - Michael Kelly - Dragon Dark, Serpent Bright
Illustration #6 - Dennis McCambridge - Beast-Babalon
Ch. 7 - Humberto Maggi - Gnosis of the Devil
Illustration #7 - Sean Woodward - Sorcerer of Leng
Ch. 8 - Sean Woodward - Dreamwalker of Leng
Illustration #8 - Dennis McCambridge - Witch Queen
Become A Living God
Primal Current
NOXAZ: The Black Serpent Anthology was forged to explore the most
primal forms of gnosis in the hidden chambers of the Black Serpent. As a key
to Nightside visions and adverse Qliphothic alchemy, this grimoire of black
magick allows the mind to reach back into the primigenian well of darkness.
The forbidden wisdom herein awakens the Primal Current in an individual; it
nurtures the seed of their immortal will as the Black Serpent emerges from
the waters of Kaos.
EDGAR KERVAL
Colombia
In the Silver Waters of Qulielfi
Asenath Mason

Seal of Qulielfi

ON the Tree of Night, Qulielfi is the name of the guardian of the path
connecting the Qlipha Lilith with the realm of A’arab Zaraq on the astral
plane. In the symbolism of the Dayside, this Tunnel corresponds to the Moon,
ATU XVIII, and the pathway between Malkuth and Netzach. Represented by
Heqet, the frog-headed Lady of Transformation, the Tunnel is loaded with
feminine imagery related to moon magic and dark waters of the Nightside.
The entrance is sought between the legs of the goddess, in the depths of her
female sex, the living waters of the astral plane.
The Tunnel itself is seen by the Nightside traveler as a bright corridor,
sparkling with green kalas of the Lunar Goddess, carved within her body,
filled with shallow water reflecting the silver light of the moon. This silver
lunar essence, however, is contaminated by toxic, poisonous juices of the
Tunnel, distilled by “malignant women,” demonic denizens encountered at
the threshold of sleeping and waking. The walls drip with green slime and the
water is thick with algae and seaweed that seems alive, its oozing tendrils
waiting to pull the unwary travelers in the watery depths to drown them and
feed on their life essence. Poisonous bites of watery snakes and creatures
resembling half-snakes and half-women, or women with fish tails,
encountered in the Tunnel, bring rapid death, separating the astral body from
the flesh, dissolving defensive mechanisms of the mind and liberating the
dream consciousness. Throughout the journey, the path expands into vast
swamps with mangroves, predatory man-eating plants, and poisonous flowers
emitting venomous, intoxicating fragrance.
Those unprepared for the travel into the realm of Qulielfi are drawn into
these swamps of the Nightside, dissolved in their toxic substance, and left as
bare skeletons, intoxicated by the kalas of the moon, forced to dance a
strange Danse Macabre to the twisted tune of the croaking of frogs and toads
dwelling in the Tunnel.
Denizens of this realm resemble the batrachian creatures described by
H.P. Lovecraft as minions and manifestations of the Great Old Ones,
primordial atavistic gods walking between worlds and dimensions, entering
human consciousness through dreaming visions and alternative states of
consciousness. Their croaking heralds the crossing of the border between
dreaming and waking, the Dayside and the Nightside, the forces of Sitra Ahra
piercing the astral veil and invading the world of man through the gates of the
Night. Their god is Tsathoggua, the Lovecraftian deity manifesting as
anthropomorphic toad, presiding over mysteries of bewitchments and
illusion, imagination and clairvoyance, astral travel and shape-shifting.
His temples are the forgotten swamp shrines formed of overgrown
weeds, mangroves and withered trees, where the statues of the god are
anointed with sacrificial blood and bones of humans and animals placed as
offerings. He is worshipped in the circles of stones, where blood poured on
the nature’s altars soaks into the ground, feeding the ever-gaping womb of
the earth. Here, everything seems alive. The landscape swarms with snakes,
giant spiders, frogs and amphibian beasts of the Nightside. Vegetation is not
static either. Tendrils dripping ooze shoot from the green waters of the
swamp. Poisonous flowers sway and hypnotize the traveler with their toxic
fragrance. The air is filled with sulfurous vapors that suffocate and make it
hard to breathe. Now and then one can see skeletons, animated bones of those
whose life essence was drained by the demonic denizens of the Tunnel.
While traveling through the realm of Qulielfi, you may find yourself
transformed into one of amphibious creatures that dwell on the swamps of the
Nightside. This can be a frog leaping across dimensions, a snake crawling
between worlds, or one of bestial hybrids reflecting the shape-shifting,
poisonous, or batrachian powers of the Tunnel. When entering the realm, you
may notice that everything seems huge—vegetation, insects and other
animals. You may find yourself swimming in thick green water, leaping like
a frog, or flying on dragon wings. The art of shape-shifting belongs to the
astral plane and the mysteries of soul flight. It occurs under the hypnotizing
influence of the moon, and in the realm of Qulielfi it is represented by the
powers of the frog-headed goddess. You can meet her in the heart of the
Tunnel, sitting on a stone throne, surrounded by creatures that dwell in her
astral kingdom. Sometimes she has horns resembling the sharply pointed
crescent moons.
In order to experience the powers of the Lady of Transformation, you
have to drink from her living waters, sexual kalas of the moon. Throughout
the whole journey through the Tunnel you encounter the moon in all her
phases: waxing, full, waning, and fading into black.
You can also see the snake, the shape-shifting totem beast, swallowing
the moon and spitting it out, alternately bathing the whole landscape in silver
moonlight and drowning it in ominous blackness. Kenneth Grant, to whom
the occult world owes most of the knowledge on the Tunnels of Set, observes
in Nightside of Eden that the Frog, transformer from the waters, represents
the evolution of consciousness from the amphibious to the terrestrial state.
This is also one of the powers within this realm. The frog leaps from one
shore to the other, symbolizing the formula of leaping across the whole Tree,
its pathways and dimensions. Grant mentions the ability of batrachian
voltigeurs to leap from one realm to another, from the dark moon of Yesod
towards the abyss of Daath, manifesting from non-being, from Universe B to
the world of man, from dreaming to waking.
Another emblem of this formula encountered in the Tunnel is the crab,
known for being able to run backwards or sideways, moving forward when
the moon wanes and backward when it dominates, called by the regressive
pull into the sea of unconscious, the storehouse of fantasies and nightmares.
The forces of the Tunnel emerge from the borderland of sleep, the semi-lucid,
comatose consciousness through which one can access atavistic regions of
personal unconscious.
They manifest through dreams—fascinating and delightful, or terrifying
and repulsive, arising from depths of the inner mind corresponding to
particular regions of the astral plane. The emblem of this lunar consciousness
is the magic mirror, and also the mirror is a tool used to explore the realm of
Qulielfi, communicate with its denizens and travel into the dark power-zones
of the Tunnel.
The Moon of Qulielfi is the Witch Moon. Its dewy drops are both
nourishing and poisonous. It is the moon of Hecate, the dark Lady of the
Crossroads. She does not appear in the Tunnel but is omnipresent through her
symbols. Her name is related to the frog-headed Heqet and the Egyptian word
Heka, meaning “magic” and related to such concepts as “words of power” or
“arcane mysteries.” Her power is the force of transformation and bridging the
conscious and the unconscious, sleep and waking, the Dayside and the
Nightside. She is the goddess of death and funereal rites, residing in the
Underworld, as well as the patroness of birth and divine midwife who cuts
the cord of a newborn child, awakening consciousness and opening the inner
gateways at the Crossroads of the Worlds.
Her crown represents the stages of life from birth to death, depicted as
the young, full and old moons featured in her ancient symbol of three moons
conjoined together. She is called through the magic mirror, the tool of oracle
and divination, as she conjures up visions and images from the unconscious
depths, the darkness within, symbolized in the realm of Qulielfi by primitive,
atavistic creatures crawling up from poisonous waters of the Tunnel.
The seal of the Tunnel, received during one of the meditative sessions
with the pathway, represents the conjoined forces of the mundane and the
astral realms. It includes the Moon of Qulielfi and the glyph of the Womb,
symbolizing the Cave of Lilith and the entrance to Sitra Ahra, as well as the
Eye of the Dragon that is successively opened and activated through the
initiatory work of the Nightside. It also incorporates the symbol of Venus,
representing the feminine energies of A’arab Zaraq, and the Spear of Baal,
the God of War who rules the Qlipha, the emblem of his masculine phallic
nature. Therefore, it features the forces of both Qliphothic realms connected
and complementing each other by the poisonous, predatory qualities of the
lunar pathway through which they are accessed.

Qulielfi Meditation
Sit in a comfortable position and place the seal of the Tunnel in front of
you. Focus all your attention on the image and vibrate eleven times the name
of the guardian: “Qulielfi.” As you chant the word, see the image coming
alive, moving, glowing with green kalas of the frog-headed goddess of the
Tunnel. It is also growing—bigger and bigger—until it burns before you like
a portal through which you can enter the Other Side. Close your eyes and let
the image of the seal build in your inner mind. When you get to this point,
imagine green tendrils shooting from the seal, coiling around you and pulling
you inside, through the glowing portal.
Envision yourself floating in the astral waters. Imagine the huge silver
moon above and silvery sparkles of moonlight reflected on the water, dancing
and glowing in its depths. But the waters are bitter and poisonous. They are
swarming with sea creatures resembling fish, snakes and crabs, monstrous
and atavistic, reflecting the primal nature of the Nightside. Adjust your senses
to these astral energies: breathe the air carrying the toxic vapors of Qulielfi,
taste the astral water and let it fill your mouth, feel the cold watery essence
caressing your skin, listen to the hypnotizing rhythm of the waters moving up
and down, back and forth, stirred by the rays of moonlight.
As you absorb the essence of the Tunnel, envision your body changing
and transforming—let it shape into a form that seems most natural for
traveling through the astral waters: a snake, a fish, or another creature
associated with the energies of Qulielfi. Let this transformation be
spontaneous and ecstatic, releasing your spirit from the bonds of flesh and let
yourself be carried by the flow of the Nightside current. Visualize that it takes
you to an entrance of a cavern. It is shaped like the kteis, the vulva of the
Lunar Goddess, and as you swim inside, you can feel that all around you is
alive, breathing and pulsating. The walls of the cavern are green with muddy,
oozing slime. You can feel the stench of sulphuric acid in the air. The water
is cold and electrified with the energies of the Tunnel.
As you swim through the dark green waters of Qulielfi, you notice that
the cavern does not end, it expands into a long, underground tunnel filled
with unearthly green light. Travel into the depths of the Tunnel, exploring it
further, communicating with its denizens, speaking to its guardian when she
makes her appearance to guide you through the dark swamps of the
Nightside. Open yourself to whatever may come and enjoy the journey.
When you travel back to your physical body, close the gates by burning the
seal of the Tunnel and return to your normal consciousness.

Dream Work
As the realm of Qulielfi belongs to the astral dreamlands, the contact with
its energies can also be made through intense and focused dream practice.
You can do it as a complementary work to the meditation or a separate
exercise.
When the meditation is over, do not burn the seal and leave the
gateways to the Tunnel open. Focus on the image and bring the visions you
have just experienced into your mind once again.
Keep your attention focused on the wish to continue the vision through
dreams. Lie down on the bed, close your eyes and bring the seal of the
Tunnel before your inner sight. Relax and let yourself fall asleep with your
mind focused on the image. If done properly, this practice will take you into a
dream trance through which you will experience the deeper aspects of this
astral realm. If you are a skilled dream traveler, use the visions to explore the
depths of the Tunnel. If you cannot control your dreams yet, let them flow
naturally and spontaneously, taking you on the journey through the astral
dreamlands.
If you perform the dream work alone, without the previous working,
start the practice as you would start the meditation—vibrate the name of the
guardian and envision the seal becoming the gateway to the energies of the
Tunnel. Then continue as described above.
If you awaken at night and cannot go back to sleep, focus again on the
sigil and try to keep this vision in your mind while falling asleep. Keep a
dream diary and do not forget to write down your dreams so that they could
be used in further dream practice and meditations.
Feasting Succubi
The Maya of the Qlippoth
Bill Duvendack
THE pattern and formation of the Qlippoth is one that many have a great
interest in and one that I think it would be wise to discuss. Let’s begin with
“what do we call it, anyway?” The Tree of Death? Well, that’s not
appropriate. The tree of the knowledge of good and evil? That’s not entirely
true either. Let’s just stick with the Sitra Ahra, which simply means “Other
Side” for now just to define our starting point. Besides, depending on the
tradition, any or all of those terms are true and all are equally justified. For
the more Egyptian minded people reading this, there’s always the title of the
“Tunnels of Set,” too. I’ll come back to that later, but suffice for now; we’ll
use Sitra Ahra because it’s clear.
Sitra Ahra is clear because it simply means the “Other Side.” Hence we
have a clear reference to the other side of the tree of life. It would be a logical
fallacy to think that the opposite of the tree of life would be the tree of death.
After all, the opposite of life is not death, but rather un-quantifiable life. We
now find ourselves at its entrance, and we can proceed carefully along these
mist filled corridors. This structure is the same as the tree of life though, and
hence we establish that there are 10 spheres of power, and 22 routes to walk
to navigate this course. Arguably we could say that there are 11, but really
Da’ath flows between the two as a natural portal due to its vacuous nature on
the tree of life, and its projecting nature on the opposite tree. Hence it is a
fountain and more of an entrance and exit point rather than anything more
than that.
There are 22 paths that connect these 10 spheres, and each one has an
entity associated with it. There is an important point to realize about the rest
though, which is the fact that the other 10 places on this tree are really the
same as the ones on the front side of the tree! Yes, I realize that this may be
heavily disputed, but let’s look at the facts of the matter. When you’re
working with the Tree of Life, in particularly one of these power centers
(plural-Sephirah, multiples-Sephiroth), when you work with it you are
working with the entirety of that particular Sephirah. Hence, if you’re
working with Yesod, you’re not just working with the characteristics of
Yesod that are common qabalistic knowledge, but rather you are working
with the entirety of that sphere unless you specify otherwise. Hence not only
would you get imagination and intuition, you would also get illusion and
deception. The only way around this is to specify in your working that you
simply want the tree of life correspondences. Thus technically the Sephirah
on the other side tree are the same as the ones on the tree of life.
The oldest surviving documents that chronicle the origin of the Qlippoth
material can be found in the Lurianic doctrine of the Qabala at about the same
time as Dr. John Dee and Edward Kelly were recording and working with
their Enochian material. Hence, since the Renaissance, the idea of an other
side of the tree of life has been pronounced. In short, this teaches that what
are parallel to the Sephiroth on the Tree of Life on the other side of the tree
are actually the husks or shells from the breaking of the vessels that originally
held the light. However, critics say that this may strongly be argued due to
the fact that if these points on Sitra Ahra are broken shells or husks, then this
implies a polarity based existence, and after a certain point on the tree of life,
polarity is removed. To follow this line of logic through, then, we find that
the Sephiroth that would fall into this categorization are not all inclusive, and
thus is illogical, flawed. The representation of the Sephiroth on Sitra Ahra is
simply different ways of looking at the same material and focal points that
exist on the tree of life.
When we keep this in mind, we find that we already know a lot of the
correspondences, and thus the entire system becomes easier to navigate.
Another point to consider is that if these are shells of vessels that broke
because they couldn’t contain all of the energy flowing through them, and
thus they would have to have been in existence before source spewed forth
then energy, making them not a part of source, but rather a pre-existing
structure. Interesting for sure when you ponder it. Perhaps they are shells;
shells of previous teachings and cultures. But anyway, I digress.
If some esoteric teachings are believed then the Qabala and the Qlippoth
are actually descended from the ancient Egyptian mystery schools, but here
again we find ourselves at a topic that is another essay or even book! There
has been much research and study into sacred geometry over the last few
decades, and there is plenty of material out there discussing the link between
the tree of life and the flower of life, burned into stone at Abydos in Egypt.
For now though, I prefer to stick to the fact based evidence we have. While I
personally believe everything in the western tradition stems back to ancient
Egypt, let’s keep this as objective as possible.
Just as the tree of life has divine names for each of these Sephiroth, the
other side tree also has divine names for these consciousness centers. The
easy rule of thumb to be aware of is that the divine names on Sitra Ahra
portray an impure or perverse thought and application of the tree of life side
of the Sephiroth. Let’s look at Hod, ruled by Mercury, as an example.
Hod is the 8th Sephirah on the tree of life, corresponds to Mercury, and
addresses the logical mind. Yes, I realize that there is much more that can be
said about it, but I’m simply listing it here for illustration and with an
overview. Simply knowing the name of this Sephirah, though, brings us to
another detailed point to make. On the tree of life, these are divine names that
Qabbalistically give insight into that Sephirah. However, on the other side of
the tree, that is not the case. The name associated with Hod on Sitra Ahra is
Samael, who was an angel in early writings and became a fallen angel in later
ones, whose name means “Poison of God.” The poison implied here is that of
how an idea or logical view can infect humanity (god) and spreads like a
poison, changing the structure it finds itself in. Thus, while divine names are
used on the front, angels, and in particular fallen angels, correlate to the
Sephiroth on the tree of the other side.
Confused yet? Well, I for one am! I mean, if divine names are used on
the tree of life, shouldn’t they be used on the tree on the other side, too? That
would show system cohesion at least, and continuity at best. There are a few
reasons for this lack of cohesion, and very valid reasons at that. The first
reason is that what we’ve been talking about thus far is only one qabalistic
tradition, and there are several traditions out there. The second reason is that
we only have partial records regarding all of this to draw from, so
assumptions and educated guesses have to be taken, and leaps of logic, or in
this case, leaps of faith, are often times used to understand all of this material.
The only fact that can be safely worked from is that most of the material
having to do with Sitra Ahra is guesswork, at best, and ultimately subjective.
Yet many people around the world today use this system and this material,
and have wonderful success when they do! One of the biggest reasons it’s
worked with is because, quite honestly, it works, and produces results!
“Success is thy proof,” as the good book says, and the fact that it works tells
us of its viability and credibility. So we now have a working but incomplete
system to develop.
On one hand, this ultimately makes everything subjective, but on the
other hand it leads me to consider the fact that perhaps our knowledge of the
Sitra Ahra is incomplete, either intentionally or not. A lot of it does make
sense after all, to give credit where credit is due. It is this final point that I use
to launch from for the remainder of this essay. The information that we work
with time and again may have flaws or intentional literary blinds associated
with it, so it is wise to look at other concepts about it in order to further our
understanding and application.
Literary blinds are fairly common and many authors use them frequently
to train readers to do their homework and to think for themselves. Who’s to
say that the early authors of the Qlippothic material didn’t put blinds in their
works? Or, for that matter, were simply grasping at straws to put the whole
thing together. They were human, just like you and I, and because of this they
were not perfect. Let’s work on the fairly safe assumption that they were
correct about a large portion of Sitra Ahra. As a matter of fact, let’s say that
percentage is around 80%, even. This way we honor those that created the
material, and give homage and respect to what they accomplished; a strong
body of wisdom of the Western Tradition that lurks in the shadows, waiting
for the willful soul to find. This brings us to the 80/20 rule, which generally
works as a conservative starting point for any alternate hypothesis, at least in
my experience.
For the sake of the essay, I’m going to leave the 22 pathways as they
are. The reason for this is that there is no discrepancy when it comes to them
or their names. All of this material has been cohesive up until now, so why
change it? However, I am going to focus on the Sephiroth themselves, for it
is in them that we find discrepancies. Let’s look at a simple chart to clarify
what we’re talking about here:

Sephiroth Sitra Ahra Entity


1 – Kether Thaumiel
2 – Chokmah Ghagiel
3 – Binah Satariel
4 – Chesed Gha’agsheblah
5 – Geburah Galachab
6 – Tipareth Thagirion
7 – Netzach A’arab Zaraq
8 – Hod Samael
9 – Yesod Gamaliel
10 – Malkuth Lilith

Immediately we are drawn to a logical question. Why are there


discrepancies in the types of names listed? Any of them that end in –el are
angelic and higher in vibration than the ones that are not, and the use of so
many of them leads one to believe that there is an overall pattern to follow,
like all things in the occult. We find that there are 5 of them, and 5 that do not
share this characteristic, and while yes, that is a pattern, it doesn’t run in a
harmonious fashion through the entire tree. Sephiroth 4, 5, 6, 7, and 10 are
the ones that deviate from the formula, but why?
Why is such an important figure like Lillith relegated to one sphere?
Why are there names used for the Sephirah that do not flow with the others?
Why is this facet of the Sitra Ahra almost never discussed? Is it lost on most?
Do most not care?

Digging a Tunnel
Let’s start towards the top of the tree and work down, focusing on the
deviations from the pattern. This gives us a starting point of Chesed, ruled by
“Gha’agsheblah.” Let’s keep things fairly traditional when we look at
correspondences and keep terms and beings in line with the energetic of the
established names. Gha’agsheblah roughly means “Disturber of All Things.”
I’m not sure about you, but to me the disturber of all things is something that
occurs unexpectedly, even if I performed a ritual to trigger something. I
reference this here because you could theoretically say that the “Hand of
God” is the disturber of all things, for it acts in its own way, and of its own
accord. If this is thought about, we discover that there is in fact an angel that
is known as the hand of God, and that is Iadiel. So perhaps the entity
associated here could be Iadiel instead.
Now we move to Geburah, and traditionally the entity associated here is
Golachab, which roughly translates to “Burners with Fire.”
This makes perfect sense from a correspondence perspective, and when
this concept is looked at from another perspective, we discover that yes, there
is an angel that can correspond here, too, and this is the angel Atmiel, also
known as the furnace. However, curiously enough, there is another angel that
could occupy this spot, and that is the angel Softiel, whose name means
“Judge of God.” This is of particular interest when it is remembered that the
Lords of Karma reside at Geburah, so perhaps Softiel would be a better fit?
Even though Thagirion is not an archangel, let’s leave him where and
how he is. Why, you ask? He is in a lot of ways the fulcrum point for the
whole glyph, which tells us that he requires special attention. To reflect this,
in my opinion, it would be wise to simply leave him as he is to denote the
uniqueness and special role on this entire side of the tree.
When researching the Netzach point, I discovered a few different angels
that could sit at this spot. The first one to appear to fit is Aftiel, who is an
angel of twilight. Part of the correspondence here is tongue in cheek
wittiness, I assure you though. The reason that Aftiel fits is because the planet
that corresponds to Netzach is Venus who is very well known for being a
morning star or an evening star, and thus Aftiel would correspond to that
vibration. It’s also worth mentioning that Kenneth Grant put particular focus
on the concept of twilight consciousness, and hence this is all tied together.
However, Makatiel could just as easily fill the role. His name means “Plague
of God,” and this quite appropriately fits the concept
behind the Ravens of Dispersion, doesn’t it? Finally, an angel that is a
stretch for this position, but still one to consider none the less, is the angel
Charbiel, whose name means “dryness.” This is what would be left when
everything is dispersed, and thus a correspondence could be made.
Finally we arrive at Malkuth, and traditionally this has been the domain
of Lillith. However, in another essay I shared the view that she is bigger than
just one spot on the tree, and thus correspond to more of a Sitra Ahra
Shekinah more than anything else. If this is worked with, then we find that
another angel fits here, which is the angel “Azael,” whose name means
“Whom God Strengthens.” This is something that happens to every soul on
the earth plane. We become strengthened by our experiences, no matter our
beliefs. Until we die, we continue to live, and even if that life is clung to by a
thread, it is still work noting because there is survival, and survival is a large
part of this path, for it paves the way to thriving.

The Religion of Math


Let’s put these angels through the lens of numerical value to use that as a
filter to bring out the ones that most accurately reflect the numerical energetic
they may associate with. Of course the first thing to do is to translate the
names into Hebrew.
The first one to look at is Iadiel. Let’s look at the following chart for a
breakdown:

Letter of Angelic Name Numerical Value


I (Yod) 10
A (Aleph) 1
D (Daleth) 4
I (Yod) 10
L (Lamed) 30
Hence for a total we arrive at 55, and when simplified, we arrive at a
value of 1. If we look at things from one perspective, they don’t add up. For
example, the value of 1. That would imply Kether, not Chesed. However, if
we count from the top down, and include Da’ath, then Chesed is the 5th
nexus on the tree. It is my perspective, completely open to debate, that on this
side of the tree Da’ath counts as its own vortex, for it is through Da’ath that
we come to this side of the tree. Thus we arrive at 55 being a reference to
Chesed.
Let’s look at Geburah, as another sample. Instead of looking at all 3
possible names, let’s look at just the one that most closely aligns with the
energetic of that spot, and that would be the name “Atuniel,” which means
“furnace.”

Letter of Angelic Name Numerical Value


A (Aleph) 1
T (Tet) 9
U (Vav) 6
N (Nun) 50
I (Yod) 10
L (Lamed) 30

Thus when added together we arrive at 106 for a Qabalistic total, and
when further reduced we arrive at 7. This value of course doesn’t fit with
where we are, which opens the door to looking at one of the other angel
names that may fit: Shoftiel, which means “Judge of God.”

Letter of Angelic Name Numerical Value


S (Shin) 300
O (Ayin) 70
F (Peh) 80
T (Tet) 9
I (Yod) 10
L (Lamed) 30
That gives us a total of 499, which reduces down to 4, which also
doesn’t equate to Geburah in any manner, so let’s proceed to the next
possible angelic name: Affafniel.

Letter of Angelic Name Numerical Value


A (Aleph) 1
F (Peh) 80
F (Peh) 80
A (Aleph) 1
F (Peh) 80
N (Nun) 50
I (Yod) 10
L (Lamed) 30

When we add all of this together, we get 332, which reduces down to 8,
and again we don’t have a numerical match, which tells us that this theory
may be entirely off. However, let’s move on to the next vortex: Netzach. Let
us also begin with the angelic name that has the most accurate meaning for
this placement and energetic. That would be the angel Makatiel, which means
“Plague of God.”

Letter of Angelic Name Numerical Value


M (Mem) 40
A (Aleph) 1
K (Kaph) 20
A (Aleph) 1
T (Tet) 9
I (Yod) 10
L (Lamed) 30

When reduced, we arrive at 111, which further reduces down to 3.


However, the 111 is highly significant for a number of reasons, so I won’t go
into all of them here, but I’m sure it is obvious to the astute reader. Hence,
let’s leave it as valid.
As we move on to Malkuth, we find another angel waiting to be tested,
and that is “Azael,” which means “Whom God Strengthens.”

Letter of Angelic Name Numerical Value


A (Aleph) 1
Z (Zayin) 7
A (Aleph) 1
L (Lamed) 30

A value here is 39, which reduces to 12, which reduces to 3. The reason
I put the half step of 12 in there is because in the Western Esoteric Tradition,
12 has a very valuable place, covering everything from the 12 signs of the
zodiac to the 12 tribes of Israel, which does coincide with the Qabala quite
nicely. Hence the argument could be made that this proves the placement.
Of course, gematrically, what I propose here can be hotly and
vehemently debated, but that is what I encourage! After all, all opinions are
valid, and as long as they stand up to a scrutinizing analytical mind, then they
could all be possibilities. I’m not saying that the above names and beings are
correct, but rather that by proving them accurate and applicable, we open the
door to a debate about blinds in the Qlippothic system. What have been
discussed in this essay are simply a theory and a possible solution. That
doesn’t make it the right solution, but rather simply a solution.
Let’s wrap this up by getting on the same page. This path that we walk
my friends is not one that requires mindless belief and zombie actions, but
rather it is an active path that many treasures and fruits can be found if we but
think for ourselves. Perhaps what I said above is completely wrong regarding
the angelic names. I can live with that. After all, my main contention
throughout this entire piece is simply that the Qlippoth that we know and are
familiar with may be partially corrupted, intentionally or not, and because of
this, we have the task ahead of us to figure out what the pure system is. This
in no way limits us from using the system already in place, though, for we all
know that it works and is effective. I simply offer this here as an alternative
thought. After all, if there is such a strong thread of the Judeo-Christian
paradigm running through the entire system, then why wouldn’t things be
congruent and consistent?
I encourage everyone to explore in these shadowy directions, for we
know not what to expect next, and isn’t that the point of a lot of this type of
work? Part of the thrill, at least to me, is going where things forgotten lie in
wait. Discovery is a very powerful tool for spiritual advancement that it can
fuel the flames to a degree that very few feel. Crowley, Grant, and Breeze
have all looked into different twists on this material, and they were simply
curious like all of us are. We can accept what is there, or we can push the
limits further out, seeking clarity. We have the current working system to fall
back on, so we can take comfort in that fact, if comfort is something that we
seek, so having a point to return to is already arranged. Perhaps your
discoveries will promote a piece or book like this in the future, or perhaps
something much more revolutionary.
Hekt
Dark Star of Chaos Lafcursiax
Linda Falorio
REELING on the razor’s edge of non-control between Oblivion and
Bliss, we bring life back into balance by letting go & allowing for creative
Chaos.
When the Dark Star of Chaos bears down upon our world in its 3600-year
orbit of the Sun, Earth is bombarded with destabilizing electro-magnetic
radiation causing earthquakes, volcanic eruptions, freak weather conditions,
monster storms, tidal waves and cataclysmic floods. The ancient Sumerians
knew of this planet of cyclic catastrophes and named it Nibiru. The Sumerian
symbol for Nibiru was the eight-pointed Dark Star of Chaos. Though long
thought to be purely mythical the Infrared Astronomical Satellite (IRAS)
confirmed Nibiru’s existence in 1983. Named “Nemesis” for the Greek
goddess of divine vengeance and retribution, archeologists surmise that
Nemesis-Nibiru played a role in the mass species extinction that marked the
Cretaceous Period one-hundred million years ago.
Comets and other elliptically-orbiting bodies, such as the planet
Nemesis-Nibiru, are major “seed” forces that bring into our solar system deep
space alien elements, unknown metals, organic sequencings of molecules,
and proto strands of RNA, or viruses, that lay cold and dormant in the
absolute zero temperature of space. They travel silently from star to distant
star in search of viable hosts and atmospheres in which to thrive. The
returning of celestial bodies to our world stirs archetypal longings for a
“Second Coming,” for a return of trans-cosmic forces, outré other-worldly
Visitors, “the gods” to take a deliberate role in human affairs, while we
remain dubious as to whether such visitors may be benefactors or despoilers
of our planet.
Trans-cosmic visitors ride upon Nemesis-Nibiru as it looms closest to
our Earth in its 3600-year cycle. When its orbit intersects our solar system
and its path bears down upon our world as it travels from Pluto inward
toward the Sun Nibiru-Nemesis is a creator of unbalance and aligns with the
sign of Libra, The Balances, “the other,” our extraterrestrial brothers. The
Chaos Star Nibiru-Nemesis becomes Inanna/Ishtar, Goddess of Love,
Goddess of War, creating balance out of chaos and symbolic of the human
urge to connect with “not I,” with “the Other.”
The oldest Tarot image associated with the sign of Libra is the Egyptian
goddess Maat, an Elder God, a Great Old One who holds the scales of Justice
in her left hand and the double-edged sword of Truth in her right. The scales
she holds are the scales of Karma upon which the human heart is weighed
against the feather of Maat in the Egyptian Halls of the Dead as the soul
approaches the afterlife in Amenta. If the heart is light as the feather, the soul
moves on to the Western Lands. If not, the soul is devoured by the chthonic
monster Amemait, The Devourer. There is no grace, there is no guilt, there is
no prayer with which to placate the fate that we have ourselves created.
“Justice,” “Adjustment,” Atu VIII of dayside tarots finds its Shadow
side in the Tunnel of Lafcursiax where Maat turns her face to us as Nemesis,
“due enactment,” goddess of vengeance. Born of the blood of Uranus, she is
“Divine Vengeance” and Adrasteia, “the Inescapable One” who is the
oracular Crone of Autumn. She speaks with the voice of the stars of Libra
that were originally part of the constellation Scorpio known as the Chelae,
“The Scorpion’s Claws.” This dark and primitive creature of chthonian
depths and the collective unconscious contains the oracular power of the
Earth herself reified as the Delphic Oracle.
Maat, goddess of perfection is also The Dark Goddess, Maut the
ravenous Vulture, a tabooed bird sacred to Osiris and important to Etruscan
Augurs. In the Tunnel of Lafcursiax, the vulture goddess, Maut feeds on
ribbons of flesh torn from the souls of the living. Sparks of human lives are
the fuel of her existence whose origins have been lost in dim mists of time
when the Sons of God, the Nephilim walked the Earth, when Star People
came from Nemesis-Nibiru, planet of Balance and Unbalance.
The spider as the dark emblem of Typhonian mysteries, of the ancient
serpent cult of Obeah and of the Ophidian current is the emblem of the
goddess Maat in her cycle of returning. The crazy symmetry of the spider’s
web spans the abyss of in between-ness into which we might otherwise fall
backwards, crossing from being to non-being, from crossing from the known
universe into the Aeon of Maat ever spiraling toward us from an unknown
future as the planet Nemesis-Nemesis-Nibiru bears down upon our world.
Hanging upside down, the Spider Queen of Space spins her web, creating 256
windows into other dimensions. These are transmission towers in the void
pulsing extra-terrestrial energies that erode then mutate human consciousness
as the dread voice of Hastur swirls darkly through the vastness of the
universe.
Freakish weather patterns, volcanic eruptions, earthquakes and tidal
waves herald the immanent return as Nemesis-Nibiru bears down upon our
solar system as it had when the Greek Centaur, Chiron lived upon Earth some
3600 years ago. At that time the unsettling of earth currents caused by
Nemesis-Nibiru’s electromagnetic field as it approached earth brought the
explosion of the ancient island of Calliste/Thera/Santorini in a massive
volcanic eruption triggering a 300-foot tidal wave that swept the shores of
Greece, Asia Minor and Egypt, destroying Crete and its high culture and
giving birth to the tale of the destruction of Atlantis.
This point in the Nemesis-Nibiru cycle is the unbalancing point.
Electromagnetic energy is increasing in the atmosphere, re-energizing
megalithic stone circles and pyramid temple complexes all over the world. As
the approach of Nemesis-Nibiru causes weather unbalances and liberates
deep Earth forces it also liberates Eros. This unleashing of erotic force
transmutes into Uranian serpent power that rises up the awakened spine as
kundalini energy. The only safe and sure method of channeling the vast
influx of electro-magnetic and bionic energies is that of “no-balance”, of
loosening and letting go of dayside needs for linear balance and conscious
control that result in nausea and vertigo. Allowing a natural upward spiraling
of energy the energy released brings joy and passionate love, reeling on
danger’s edge of un-balance between oblivion and bliss, between ecstasy and
creative chaos under the power of the eight-armed Dark Star of Chaos.
Azazel
The Vine of Sodom
Arboreal Themes in Apocryphal Accounts of the
Fallen Angels
Abby Helasdottir
For their vine is of the vine of Sodom. Their grapes are grapes of
gall, their clusters are bitter. Their wine is the poison of dragons, and the
cruel venom of asps.
—Deuteronomy 32:32-33

TREES, gardens and other arboreal forms figure prominently in modern


expressions of Qayinite and Nightside magick. N.A-A.218 spends much of
Liber Falxifer II considering Qayin and Qalmana’s role as respective patrons
and matrons of the green art, with Qayin as First Tiller and the Thorned-
Crowned Harvester, and with Qalamana likewise tied to the theme of the
garden as the Queen of the Rose Gardens of Nightside Venus (N.A-A.218,
2011). Similarly, the Cultus Sabbati highlights how Cain is not just the patron
of sorcery, but is also the spiritual father of the noble arts of Botany,
Agriculture, and Herbalism (Schulke, 2005). The Green Art is a major
component in the written work of current Cultus Sabbati magister and
verdelet, Daniel Schulke, whose work Viridarium Umbris: The Pleasure
Garden of Shadow talks of the thorny Tree of Ordeal, which stands ward over
the Field of Cain, and upon which “all Flesh which aspires unto the Light
shall be crucified.”
The contemporary reifications of these themes are but one of many
examples of how trees and other arboreal forms are intimately connected with
the Fallen Angels, and with their leaders, the Opposer figures of Satanael,
Shemihazah and Azazel. Explorations of these motifs occur frequently in 2nd
to 3rd century CE Jewish pseudepigraphical texts, such as the Apocalypse of
Baruch and the Apocalypse of Abraham, and particularly in their Slavonic
versions. Similarly, an association of the gigantic Grigori or Watchers with
trees is found throughout Enochic literature, with their great height often
being compared to that of cedar trees. In one of the Middle Persian Kawān
fragments that preserve the Manichean version of the Enochic Book of
Giants, for example, the Grigori are explicitly identified with the trees in the
primordial garden:
outside… and… left… read the dream we have seen. Thereupon
Enoch thus … and the trees that came out, those are the Egregoroi (‘yr),
and the giants that came out of the women. And… over… pulled out…
over…
—Henning, 1943, p 66

Their Grapes Are Grapes of Gall


A number of apocalypses draw a connection between the Tree of
Knowledge of Good and Evil and Satanael, variously crediting him with its
creation, or making it the arboreal abode of the Opposer. In the Slavonic
version of 3 Baruch, the eponymous narrator experiences a dream-vision and
asks to be shown the tree “through which the serpent deceived Eve and
Adam.” Baruch’s angelus interprets tells him that the tree was a vine which
Satanael had planted in the garden; just as the angel Michael planted an olive,
Gabriel an apple, Uriel the nut and Raphael the melon. The vine is revealed to
be more than a mere plant and is instead anthropomorphized as a source of
spreading evil and an embodiment of sinful desire:
In the first place, the tree was the vine, but secondly, the tree (is)
sinful desire which Satanael spread over Eve and Adam, and because of
this God has cursed the vine because Satanael had planted it and by that
he deceived the protoplast Adam and Eve.
Such is the power of this vine that 3 Baruch tells how it survived the
Great Flood and was discovered and replanted by Noah; presumably
providing the source for the vineyard that the biblical record describes him
tending and whose vintage he then rather overindulged with.
The motif of a Nightside arboreal force that grows and reaches out in
order to capture things within its embrace is mirrored in the
pseudepigraphical Apocalypse of Abraham, where the tree in the garden of
Eden is again represented as a vine. In this apocalypse, the patriarch Abraham
performs the same role and functions of dream-led seers from other examples
of apocryphal literature, such as Enoch and Baruch, and is accompanied by
an angelus interprets who in this instance is the mighty angel Yahoel. After
contemplating creation from the highest heaven and seeing into the abyss,
Abraham’s gaze turns to the garden of Eden where he sees the protoplasts
Adam and Eve as gigantic beings standing beneath a tree, their bodies
intertwined with each other:
And I looked at the picture, and my eyes ran to the side of the garden
of Eden. And I saw there a man very great in height and terrible in
breadth, incomparable in aspect, entwined with a woman who was also
equal to the man in aspect and size. And they were standing under a tree
of Eden, and the fruit of the tree was like the appearance of a bunch of
grapes of the vine. And behind the tree was standing, as it were, a
serpent in form, but having hands and feet like a man, and wings on its
shoulders: six on the right side and six on the left. And he was holding
in his hands the grapes of the tree and feeding the two whom I saw
entwined with each other.
The twelve-winged figure is described as the embodiment of the impiety
of the protoplasts’ pursuits for destruction and is identified as Azazel, who, in
the context of the Apocalypse of Abraham, is not simply a prominent
member of the Fallen Angels, or even just their leader, but has, instead,
evolved to become the principle form of the Opposer. Azazel’s location
within the garden, and indeed his serpentine form, identify him as the serpent
in the familiar Genesis narrative, but there are further elements that are
unique to this apocryphal vision, specifically his positioning, intimately
entwined between the two protoplasts beneath the tree. Daniel Harlow, for
example, sees this image as a ménage à trois: “the man and woman entwined
in an erotic embrace, the fallen angel in serpentine guise feeding them
grapes” (Harlow, 2011, p 320). Andrei Orlov elaborates on these
observations about the physicality of the three beings and draws comparisons
with the intertwined cherubim on the Ark of the Covenant, and with
descriptions of the Tree of Life as the arboreal abode for God in Jewish lore.
He suggests that the image of Azazel within the Tree of Knowledge is a
conscious mirroring of the similar image of the arboreally-ensconced divine
attended by cherubim, creating, though Orlov does not use the word, a
Nightside mirror of the divine presence (Orlov, 2011, p 25). Even Azazel’s
twelve wings suggest this correlation, echoing an earlier encounter that
Abraham has with the cherubim in the heavenly Throne Room, in which
“each one had six wings: from their shoulders and from their loins.”
(Apocalypse of Abraham 18:3-6)
The image of the Opposer enveloped within a tree has a parallel in Islam
in the belief of the infernal tree Zaqqûm. Possibly influenced by pre-Islamic
beliefs that saw trees as the potential home, or even embodiment, of djinn,
the Zaqqûm is a poisonous tree in Hell whose demon-headed fruit is eaten by
wrong-doers, washed down with boiling water.
Lo! We have appointed it a torment for wrong-doers.
Lo! it is a tree that springeth in the heart of Hell. Its crop is, as it
were the heads of devils. And lo! They verily must eat thereof, and fill
their bellies therewith.
—Qur’ân XXXVII: 63-6

Large Shoots Came Out of Their Root


The motif of the Opposer planting or residing within the Tree of
Knowledge of Good and Evil has a parallel in another trope, in which various
other plants within what appears to be the paradisiac garden are seen as the
Fallen Angels or their progeny; either literally or symbolically via the
interpretation of dreams. This theme is found in the Book of Giants, a
fragmentary text that is only preserved in Aramaic excerpts found among the
Dead Sea Scrolls at Qumran, and a Manichean version (whose spread across
the Middle East led it to be being translated into Syriac, Greek, Persian,
Sogdian, Uyghur, and Arabic). The legend we shall consider here is also
conveyed in a later midrashic text, the Midrash of Shemhazai and Azael from
the Chronicles of Jerahmeel.
Revealing the debt that the Book of Giants is thought to have to an
Aramaic version of the Book of Enoch, the story gives primacy to
Shemihazah as the paramount Opposer figure and tells how two of his sons,
Hahyah and Ohyah, had disconcerting dreams that they then reported to their
father and the assembled court of Fallen Angels. In Ohyah’s dream, the Ruler
of Heaven descended to earth, while in Hahyah’s dream he saw:
…gardeners and they were watering… numerous roo[ts] issued from
their trunk… I watched until tongues of fire from… all the water and the
fire burned in all…
—4Q530, lines 3-12
The Midrash of Shemhazai and Azael adds more details to this
fragmentary account:
One night the sons of Shemhazai, Hiwwa and Hiyya, saw (visions)
in dream, and both of them saw dreams. One saw the great stone spread
over the earth… the other saw a garden, planted whole with (many)
kinds of trees and (many) kinds of precious stones. And an angel (was
seen by him) descending from the firmament with an axe in his hand,
and he was cutting down all the trees, so that there remained only one
tree containing three branches.
Even smaller additions to this tale are contributed by the Middle Persian
Kawān fragments of the Book of Giants, in which Hahyah is named Narīmān
and Ohyah is called Sām. Frg. J recounts that “Narīmān saw a gar[den full of]
trees in rows. Two hundred… came out, the trees…” This fragment can be
understood in the context of the previously mentioned fragment that reads
“and the trees that came out, those are the Egregoroi, and the giants that came
out of the women,” repeating the expulsive phrase “came out.”
Based on the fragmented and abstruse nature of these accounts, it is not
immediately clear who the gardeners seen watering the trees are, although
consensus has identified them as angels. Józef Milik, part of the original team
that deciphered and published texts from Qumran, first made this association,
calling them guardian angels and “bailiffs of the world-garden,” and drawing
a correlation with the somewhat analogous identification of the Fallen Angels
with shepherds in the Enochian Book of Dream Visions (Milik, 1976, p 304).
Milik further suggests that the motif of the roots emerging from the trunks of
the tree denotes the birth of giants conceived from the union of the Fallen
Angels with mortal women. This conclusion is supported by the previously
considered Middle Persian Kawān fragment of the Manichean version of the
Book of Giants that identifies the Watchers as trees and mentions “the giants
that came out of the women.” Loren Stuckenbruck affirms Milik’s
interpretation, saying “The “watering” activity is hence a metaphor for
impregnation and the “gardeners” represent the Watchers.” (Stuckenbruck,
1997, p 114)
The vision, then, shows a primordial garden in which the gardening
Fallen Angels tended their progeny, the shoots (rbrbyn), until a single or host
of angels descended from heaven and destroyed the plants with a
combination of fire and flood. The one tree with three branches that survives
in the Midrash of Shemhazai and Azael recalls the fate of the Satanael-
planted vine following the comparable or identical Noadic flood in 3 Baruch.
Whether it is as the vine of Satanael, the arboreal abode of Azazel, or the
shoots that are the progeny of the Fallen Angels, there is a consistent theme
in apocryphal literature of trees and plants as emanations of the Other Side. In
all three examples, there is a sense of the Sitra Ahra reaching through, with
the tendrils of Satanael’s vine creeping into the future from the paradisiac
garden, or the generative shoots of the Fallen Angels seeking to thrive under
the tending of their gardening progenitors. The placement of these arboreal
emanations of the Nightside within the paradisiac garden shows how that
very garden was “the place of the primordial heavenly rebellion involving
angelic being(s)” (Orlov, 2011, p 124) and makes it a fitting source for the
lineage of Qayin and the font of the power of the Greenwood.

Bibliography
Harlow, Daniel C. “Idolatry and Alterity: Israel and the Nations in the
Apocalypse of Abraham.” The “Other” in Second Temple Judaism. Essays in
honour of John J. Collins. Grand Rapids: Eerdmans, 2011
Henning, W. B, “The Book of the Giants.” Bulletin of the School of Oriental
and African Studies, University of London, Volume 11 No.1 (1943), pp. 52-
74
Milik, J.T, The Books of Enoch. London: Oxford University Press, 1976
Orlov, Andrei A. Dark Mirrors: Azazel and Satanael in Early
Jewish Demonology. Albany: SUNY Press, 2011
N.A-A.218. Liber Falxifer II, The Book of Anamlaqayin,
Ixaxaar, 2011
Schulke, Daniel A. Viridarium Umbris: The Pleasure Garden of Shadow,
Xoanon, 2005
Stuckenbruck, Loren T. The Book of Giants from Qumran: Texts, Translation
and Commentary. Tuebingen: Mohr Siebeck, 1997
La Anah
Dragon Dark, Serpent Bright
Michael Kelly
1. The Essential Question
ONE of the questions that I have often heard asked as I have walked the
labyrinthine trails of the Left-Hand Path concerns the nature of the
relationship between the Lord of Darkness and the Ancient Dragon. And
whenever this question has been asked, I have heard it answered in many
different ways.
Some have answered the question by applying logic to it, interpreting
the extant mythology in the light of reason. Others have relied upon their
feelings, framing the answer in terms of what they would like the truth to be.
Very rarely have these answers proven satisfactory or remotely convincing.
There have been those who have claimed that the Dark Lord and the
Dragon are one and the same being, or that one is an aspect of the other.
Others have claimed that the two are enemies, that they are either opposed
principles, or that one is a good guy—or at least an admirable anti-hero—
whilst the other is utterly evil and inimical to life and consciousness.
I am a sworn Priest of the Prince of Darkness and I have writhed with
the primordial Serpent in the Abyss. It is my wish to answer this question
convincingly and with authority, as one who walks with both Prince and
Dragon.
In doing so, I will be looking back to the Creation of the Cosmos (and
beyond); I will then examine the roles of both Dark Lord and Dragon in the
process of Initiation within the manifest Universe; I will close by looking
ahead to Ragnarok (and beyond). The whole is a glorious and beautiful
journey.

2. The Timeless Void


We can find our starting point in several ancient world mythologies. In
every case, before the Creation of the Universe as we know it, there was a
timeless Void, a No-place, No-where, No-when. This Void necessarily
contained within potential everything that might conceivably come into
manifestation, together with everything that might never come into
manifestation: every would be, wouldn’t be, might be and could be, all mixed
up together in a single endless moment of possibility.
In the Bible, we read that “in the beginning” all was “without form and
void” (tohu wa-bohu, a Hebrew phrase which implies great confusion and
dispersion). ‘Tohu-bohu is still used in modern French to refer to great
commotion and confusion, and ‘Tohuwabohu’ is used in colloquial German
to signify the same thing. Significantly, this formless Void is then referred to
as ‘waters,’ a reference to a primordial slimy Abyss. Rabbi Judah described
Tohu as a green line which encompassed the world, all Darkness emanating
from it, whilst he described Bohu as a mass of slimy stones in the deeps of
the Abyss, from which all waters flowed.
In the Babylonian Creation myth, Enuma elish, there is also an Abyss of
waters which predates the manifestation of time and space. In this timeless,
spaceless Void dwells the primordial Dragon, Tiamat, from whom all Gods
and Demons are later spawned. She Herself is as timeless and dimensionally
unbound as the Void She inhabits.
The Norse account tells of Ginnungagap, a ‘magically charged Void,’
which preceded Creation. The manifest Universe began when sparks of
primordial Fire met with streams of primordial Ice, causing an explosive
outpouring of heat, steam and moisture. As soon as the potential held within
the Void as a charge produced these two opposing forces, the whole of
Creation began to unfurl.
But in all cases, the Cosmos emerged from a preceding Reality which is
also Unreal, a Void of Chaos. This Void possesses neither time nor measure,
yet contains the potential for all things within itself. Equally important for the
magician is the understanding that it also contains the possibility of
everything which may never be. It contains All, including that which will
never come to pass. From the perspective of the manifest Cosmos, it can only
be described as Nothing, for it is No-Thing. Yes, despite being Unmanifest, it
is greater than that which is manifest, since it embraces every possibility,
every contradiction, within itself.

3. The Creation of Gods, Worlds & Men


Inevitably, when every possibility is contained within the Void, currents
swirl back and forth within the figurative ‘waters’, surging and receding,
popping in and out of existence. This may be likened to the ‘quantum foam’
and ‘virtual particles’ which are spoken of in modern science. At some point
(and there is really no question of ‘when,’ for the Void has no time as we
understand it: as I have experienced it, there is at best a polarity of ‘before’
and ‘after’, with a continuity stretched between them – and these poles may
reverse!) possibilities take on more complex shapes and Come Into being, for
it is the essence of possibilities to express themselves (how else could they be
possible?). And thus, Creation occurs. Not by the hand or voice of God, but
by the currents of the Void.
The first Creations are the Gods. In Enuma elish, the Gods and Demons
are spawned by Tiamat, children of the Ancient Dragon. In Genesis, the
Elohim precede the formation of the Cosmos, for they move upon the face of
the waters before light is brought into being or Reality shaped. In Norse
mythology, the primal giant Ymir sires giants and Gods in the Void before
the worlds are established. In Egyptian myth, the God Atum existed as a self-
created being in the primal waters of Nu. He then created the other eight
primary Gods of Egypt by an act of masturbation.
Once the Gods had appeared, the worlds were shaped. This process
often involved a conflict and bloodshed, not surprising when considering the
contending forces that are necessary for matter to come into being. Even
ignoring mythology for the moment, a quick look at the colossal forces at
work in the galaxies, giving birth to stars and planets, is illustrative of this.
The Hebrew Creation myth as set down in Genesis seems quite orderly
on the face of it, but this ‘official’ version misses out a step. There is a
persistent tradition concerning an earlier, ‘failed’ Creation, which resulted in
the ‘Antiworld’ of the Qlippoth, and this tradition has been passed down
through the ages in Qabalistic magic and mysticism. It is only through the
balance factor of this averse Universe that the seven orderly stages of the
standard Hebraic Creation process are able to establish a coherent Cosmos
out of the Void.
In the Babylonian mythology, the din and clamour created by the
factions of Gods and Demons spawned by Tiamat leads to warfare. Marduk –
who is the Sumerian God most closely associated with Set and Baal and
similar Dark Lords of strife and consciousness – wins the conflict on behalf
of the Gods and Creates a world of order in which a semi-permanent
evolution of life and consciousness may arise. He does this by ‘slaying’
Tiamat and shaping the Universe from Her remains. Her body becomes the
earth, Her blood the seas, etc. This is the very first of the Dragon slaying
myths, and it has two essential points to teach us:
Firstly, the Dragon is not truly ‘slain’ in any sense that we would
understand it. Tiamat exists outside of time and space, and thus knows no end
and no beginning. She continues to abide there as She always has and always
will. This ‘slaying’ is a purely relative concept.
Secondly, the entire Cosmos—including us, as we will see further below
—is born from the blood and being of the Dragon, flesh of Her flesh, bone of
Her bone, blood of Her blood.
We will discover these two important points in all Dragon slaying
myths, including that of Sigurd and Fafnir, which we will examine later as an
exemplary initiatory model.
The Gods of Egypt assumed the various qualities of Sky, Earth, Sun,
Heat, Moisture, etc., and fashioned the world accordingly. One of the most
significant parts of the Egyptian Creation myth from a Left-Hand Path point
of view, however, was that Set – the God of consciousness, conflict and
transgression – tore Himself from the womb instead of being naturally born.
Set would assist in the cycle of day and night by standing in the prow of the
bark of Re as it passed through the Underworld during the night. Set was the
only God who could endure the mesmerizing gaze of the Serpent Apep as It
sought to swallow the Sun prior to its rising each morning. Set would drive
the Serpent away, ensuring that time and the Cosmos would continue for
another day.
In Norse mythology, Odin, the chieftain of the younger Gods, slays
Ymir, the primal Giant. From Ymir’s corpse He then creates the nine worlds
which hang upon Yggdrasil, the cosmic tree. Ymir’s blood becomes the
oceans, his skull the sky, and his bones the mountains. The Giant of Chaos is
slain and a new Creation ordered and arranged by a God of consciousness.
This is an identical pattern to the Babylonian myth, except Ymir is a Giant
instead of a Dragon. (Not that Norse myth skimps on its Dragons, as we shall
see shortly).
Once the world(s) has been created and the Gods have established Their
home within the Cosmos, They invariably get around to creating the human
race. This is a most intriguing process.
In Babylonian myth, humans are formed from the blood of Kingu, the
consort/son of Tiamat, and are given life and consciousness by the Gods, in
order to serve Them. But the vital point in this myth is our dual heritage: we
ourselves are spawn of the Ancient Dragon, we are of Her bloodline; we are
given consciousness and Self-awareness by the Gods of the Cosmos. This
duality is important.
The same dual nature is expressed in a different way in the Biblical
Eden myth. Adam and Eve are shaped by God, who breathes the breath of
life into them. But it is the Serpent who makes them conscious and Self-
aware. And witness the promise the Serpent makes in doing so: that they
shall Become as Gods, knowing good and evil.
It is the tradition of the Priesthood of Set that it was Set, the first Self-
aware individualist, who bestowed the sense of Self upon humankind: his
Gift to our species, that we too might Come Into Being.
In Norse myth, the first man and woman are named Askr and Embla.
These names mean ‘Ash’ and ‘Elm’, so human beings were mythically
formed from trees. This makes sense when you consider that the Cosmos
itself is figured as a Tree – Yggdrasil – and humans are magically considered
to be a microcosm of the macrocosm. This primal pair of humans are given
consciousness, inspiration and spirit as Gifts from Odin and his two brothers
Vili and Ve (Vili and Ve are often considered to be aspects of Odin).
So when we consider all of these myths and the underlying patterns and
currents that drive them, we find certain recurrent themes. We find that we as
human beings are ultimately kin to the Dragon of the Void, the source of our
Essence. We also find that consciousness was instilled in our species by a
Dark God subsequent to the creation of our form. We thus owe a debt to both
the Dragon and the Lord of Darkness. These two beings are the two poles of
the Left-Hand Path: the female Dragon who is Chaos and the Unmanifest,
and the male Dark Lord who is Self-Ordered and who structures Reality
according to His Will. We can also realize that the Universe that Is is actually
but a tiny island of Order in a sea of primal Chaos, a pocket within the
infinite Void. The Cosmos is sustained by consciousness, for the pure and
simple reason that it is a place to be conscious in, a place to know oneself and
to experience the transformations of one’s Self.

4. The Initiatory Pattern


The realizations and themes summarized above bring us to an
understanding of Initiation: what it is that impels certain individuals to
undertake the perilous and transformative process of magical Self-Becoming.
It is precisely because we are heirs to both the Dragon of the Void and the
Lord of Darkness. We carry within our own essence both the All-potential of
the Void, and the Will to shape that potential and bring into being new
creations. These things are our inheritance; they are an imperative written
into the very substance of our being. Every individual whose consciousness
awakens to a given point will necessarily feel the necessity of the Work of
Initiation. Some will express it through art or philosophy, others will really
go to town with the tools and become magicians, seeking to emulate the Gods
of the Left-Hand Path. We are Their children, Their heirs.

In examining the initiatory process in this essay, I have elected to follow


primarily the process as exemplified in Norse mythology. This is because the
Northmen have been good enough to leave us the example of three separate
Dragons in their myths, each of whom provides the vision of another stage in
Initiation. This makes the steps easy to delineate.
The principle model of Initiation is illustrated in the myth of the
Germanic hero Sigurd and the Dragon Fafnir, as recounted in the Eddas and
the Volsunga Saga. This myth illustrates the development of consciousness
from Beast through Man to touch Divinity.
The first stage of consciousness, that of the Beast, is represented by
Fafnir. When his family receives a great quantity of gold and wealth as a
ransom payment from the Gods, Fafnir is overcome by avarice. He murders
his father, seizes the golden hoard for himself and hides it in a den upon
Gnita Heath. He then changes his form into a huge, venomous Dragon in
order to safeguard his treasure.
Desire lies at the root of all magic and all transformation, it is the power
house of magic. Fafnir represents Desire at its most basic form: the urge to
possess, to gather the Desired thing close and guard it jealously.
At this stage, the treasure (Initiation) is perceived and valued, but it is
hidden away and not put into use. The psyche has not yet developed
sufficiently to know what to do with this great treasure it has discovered. So
it sits upon it, isolated and unable to progress.
Then Sigurd appears, a son of the Volsung clan, renowned for their links
to Odin, the God of consciousness. Sigurd is a hero, to whom deeds of valour
and renown are more important than hoarded gold. He forges a magical
sword with the help of Reginn (Fafnir’s brother, desirous of the riches stolen
by his sibling) and rides to Gnita Heath to slay the Dragon.
Sigurd kills the Dragon with his sword. This is where most religious
interpretations of this myth would end: the heroic warrior puts the Beast to
death. In other words, the human being suppresses his instincts and his
natural drives, enslaving them to God or reason. But the myth does not end
there.
Sigurd roasts the Dragon’s heart whilst Reginn sleeps, for Reginn
wishes to eat the heart, wishing to gain the power of his enemy. Instead, some
of the heart’s blood splashes onto Sigurd, burning his hand. As he places this
in his mouth to cool it, the blood of the Dragon passes into his system, and
the Dragon’s awareness dawns within him, granting him its power and
insight. He finds that he is able to understand the speech of birds and he
overhears nearby birds discussing Reginn’s plan to betray and kill him; so
Sigurd kills the treacherous Reginn. He discovers the Dragon’s hoard and
takes possession of it. Not only gold, but also a mail coat capable of turning
aside any weapon and the Ægishjálmur, the Helm of Awe, which is the power
of the Dragon to transfix its enemies with its mesmeric stare, overwhelming
them with the sheer terror of its presence.
So what is the true significance of this mythic pattern? By partaking of
the Dragon’s heart’s blood Sigurd does not simply suppress and crush down
the instincts and desires that the Beast represents. Instead, he takes them into
himself and makes them a part of him! The first realization of any true Path
of Initiation is that the carnal nature is at the very root of who we are. It
cannot simply be denied or downtrodden. Instead, that which is instinctual
must be embraced, lifted up and taken into full consciousness, where its
powers can be willfully used. Beast and Man must become a unified whole.
In thus embracing the Essence of the Dragon and using it to enhance his own
powers of conscious reasoning, Sigurd becomes able to understand the
speech of birds.
This symbolizes the ability to understand the currents passing through
nature and the world around us, becoming attuned to the world we live in,
capable of seeing what is True and what is treacherous. Sigurd may then
claim the initiatory gold (gold has long symbolised Initiation). Unlike the
Dragon, the treasure is now directed by a conscious Will: it is no longer
hoarded in a hole in the ground, but may be used, sent out to flow through the
world, gathering further initiatory riches in the process. The old saying goes
that “it takes money to make money”; it also takes magic to make more
magic, it must be used. Of particular note are the birnie, the coat of mail,
which represents the strength of Will and pure Being which is the Adept’s
greatest psychic defence, and the Helm of Awe, which represents the sheer
charisma and power of Will that the Initiate now possesses, capable of
subduing any opposing force and rendering it impotent.
Once the Beast and Man aspects are unified in a single consciousness,
integrated and whole, the Initiate may approach and touch Divine levels of
consciousness. In various traditions this initial brush with Divine
consciousness is figured as a personal Dæmon, or Holy Guardian Angel, a
Higher Self. In Norse psychology it is the ‘Wode-Self’, or the inspired Self,
the Self who is like unto Odin, the Master of inspiration.
In the saga of Sigurd, this elevated Divine consciousness is represented
by the Valkyrie, Brynhild. Odin had punished her for a misdemeanour by
putting her in a magical sleep upon a hilltop, surrounded by a barrier of fire.
Sigurd is searching for further great deeds and a wife worthy of a hero and
his path is guided to the Valkyrie’s resting place. Sigurd himself knows no
fear and is willing to risk passing through the ring of flames. It is noteworthy
that his horse Grani is also fearless, being descended from Sleipnir, Odin’s
own steed. Since the powers of both the Dragon and the God of
consciousness are focused and unified in Sigurd, he passes through the fire
without harm and is able to wake Brynhild from her enchanted slumber. In a
similar manner, through Self-integration, Will and courage, the Initiate
bridges the gulf of consciousness and awakens Divine awareness and
perceptions within his psyche. Intellect and imagination become infused with
inspiration and aspiration, allowing a truly superhuman intuition to bloom.
This is what it means to be an Adept.

5. The Establishment & Transgression of Boundaries


The Initiate now has the powers of Fafnir brought under conscious
control, and as a result of this integration, he has become something more
than he previously was, something greater. His consciousness has been raised
to a new level and he is capable of seeing Reality more clearly. It is a
consequence of this greater sight that he becomes able to perceive and
understand the enormity of the second of the great Dragons of the North:
Jormungand, the Midgard Serpent.
Jormungand was one of the monstrous children of Loki, a fiend in
serpent form, who was cast into the sea by the Gods. Here, the Serpent grew
so long and so huge that it encircled the entire world, holding the whole of
Reality within its coils.
There are two types of Vision of Jormungand: the first is to reach out
with the mind, expanding ever further, taking in your home, your
neighbourhood, your city, your country, the world, the solar system, the
galaxy … and out, out, out, further and further into space, stretching to the
very edges of the Universe. This is a vision of enormity and splendour and
awe at the vastness of the Cosmos, the immeasurable immensity of
Spacetime. It is beautiful and humbling and awe-inspiring. Initiates of the
Right-Hand Path may enjoy this vision too.
The second Vision of Jormungand is much more antinomian and is truly
a vision of the Left-Hand Path. In this case, the Initiate takes note that the
Universe does indeed have a boundary, as symbolized by the encircling
Serpent. But not content with knowing this limit, the Initiate pushes his mind
beyond it to learn what exists on the Outside. He thus learns that the vastness
of the ordered Cosmos is but a bubble on the surface of the great Outer Void.
His consciousness once again scrapes the surface of that primeval
Neverwhere / Neverwhen, where the Ancient Dragon coils Outside of all
notions of time and space. Reclaiming our heritage as the children of Tiamat,
we may see once again the unfolding patterns of All-potential, All-
possibility. Jormungand is the boundary between the manifest and the
Unmanifest and the rebellious Dæmons among us may look into the limitless
Dark that lies beyond.
The very essence of the Left-Hand Path is transgressive and antinomian.
We need to know: taboos are there to be broken; boundaries are there to be
crossed. So when we become aware of a limit in our lives, it becomes
something to strive against, so that we can experience something of the
Mystery that lies on the other side: we seek to reconnect with the primal
Void, so that more of the Dragon may be brought through into consciousness.
It goes without saying that this is a dangerous process. It is represented
mythically in two separate events, both involving Thor. In one case, Thor
goes fishing, insisting that the boat should go far, far out to sea before He
casts His line. He has made a strong hook and line, which is baited with the
head of an ox, and this is cast into the deeps, where the Midgard Serpent bites
it. Thor hauls on the line, until the head of Jormungand finally emerges from
the waters and towers over the boat. Thor readies His hammer to slay the
serpent, but his companion is overcome with terror and cuts the line before
He can do so. To slay the serpent or raise it out of the waters is to risk
breaking the world.
On another occasion, the giant Utgard-Loki challenges Thor to display
His strength by lifting a huge cat above His head. Thor struggles with all His
might and finally succeeds in lifting the middle of the cat sufficiently to raise
one of its four paws off the ground, resulting in tremors and earthquakes. He
later learns that the cat was actually the Midgard Serpent, under a spell of
illusion, and that Utgard-Loki was terrified when it seemed that Thor might
actually succeed.
Boundaries are dangerous things. It is necessary to have limits,
otherwise all would be Chaos, dissipating once again to a Void state, the
manifest Cosmos unravelling, just as the worlds would collapse if
Jormungand uncoiled from around them. Will needs something to test itself
against; it requires resistance – just as an electric current does – if it is to
learn precision and act according to a focused purpose. Boundaries and
resistance are integral to the existence of the Universe, and essential to
Initiation, otherwise we have no surface to gain purchase on. Nevertheless, as
Initiation proceeds and deepens, it becomes increasingly essential to look
beyond the frontier, to cross over into forbidden zones where others dare not
tread. Set Himself is God of foreign parts and of the desert, outside the
bounds of civilisation. The trick is in the proper balance of the initiated
psyche: focused enough to exert Will with precision and purpose: intuitive
and imaginative enough to wonder about what lies beyond, about things that
have never been conceived. Too much transgression and not enough
discipline leads to dissolution: too much discipline and too little transgression
leads to stasis.

6. Opening the Eye in the Void

This process of transgressing the boundary of manifest Reality is


something The Apophis Club refers to as ‘Opening the Eye in the Void’ and
is summarized pictorially in the Club’s Seal:
Our flesh and blood is tied to the substance of the Cosmos. But the
essence of the human sense of Self is descended from the Dragon of the
Void, and enlivened by the Dark Lord of consciousness. So the Initiated
psyche is able to look inwards and trace its own inheritance back into the
unshaped Void, resonating with the mind of the primordial Serpent.
By isolating and experiencing the Void in this manner, the Initiate
symbolically opens the Eye of the Dragon of the Void. As the Dragon exists
Outside the bounds of the Cosmos, in a realm where neither time nor space
has any meaning, It experiences all possibilities and potentials at once. It can
see all that has ever been, will ever be, may or may not ever be, will never be.
And all of these possibilities are the same to It in this magically charged
Neverwhere/Neverwhen.
In the Seal, the outermost circle represents the Cosmos, ordered and
bounded. This is the manifest Universe, where time and space are
experienced as processes, where change and progression occur. This is the
arena where our souls come into being and enjoy their play. It is not a ‘lesser’
place, it is the whole purpose of consciousness to exist and to evolve, to see
itself mirrored in every action, thought and deed.
At the centre, the great reptilian Eye of the Dragon is open. It is not
touched by the laws and boundaries of physics or the Cosmos, it exists apart
from them. The essence of our own Selfhood also partakes of this quality, for
we are descended from the Dragon, and we have been awakened by the Lord
of Darkness, who as Set tore Himself from the womb of the Cosmos. So
when we have reached that state of being where we may Open the Eye and
share the perspective of the Ancient Dragon, we too can see every possibility,
every chance, every whim, which may or may not come into manifestation.
The rays which extend from the Eye towards the circle represent these
possibilities, as the Eye watches them unfold and come into being. These rays
take the form of three triangles, which represent (a) the Nine Worlds, and (b)
the three concepts of past, present and future, for all three may be observed
and altered from this unshaped, timeless place.
Through exercise of the Will which the Lord of Darkness has Gifted to
us, and which we have strengthened and trained through our Initiation, as we
gaze through the Open Eye, we may choose and direct those rays of potential
which we wish to come into being, and we may focus these upon the circle of
manifestation, changing the world in consequence. It will be understood that
this changing of the world by pure Will from within the Void is the most
powerful and far-reaching experience of magic imaginable. This experience,
of Opening the Eye in the Void, and the ability to repeat it to order, is the
most crucial initiatory step in the magical curriculum of The Apophis Club. It
is in this experience of Opening the Eye and changing the world that the
currents of the Ancient Dragon and the Lord of Darkness fuse and form a
singular Will in the magician.

7. Ragnarok
Although the Opening of the Eye in the Void is the most crucial step in
the Draconian curriculum of The Apophis Club, it is only at the midpoint of
the Work. Once this State of Being has been established within the Initiate,
they must project their own image and wishes into the world, changing it in
consequence. As their Work continues, they attain Mastery over the patterns
of Time and Space, learning the tricks of stepping outside their bounds at
Will.
Ultimately, as a truly Set-like consciousness begins to dawn within the
Initiate, a new Vision of the Void is won. The Void encompasses both every
single possibility and simultaneously Nothing. It is immeasurable, timeless
and spaceless. The manifest Cosmos is a tiny island of order floating within
its sea of possibility. The dimensions of the Void are strange and relative
indeed, not to be measured for there are no standards of measurement. But it
is still a fair comment to say that the Void is infinitely larger (at least in
scope) than the Cosmos.
Once this realization becomes an experience rather than just a concept, a
curious thing happens, which is illustrated in the diagram below:

This diagram is exactly the same as the one of the Eye shown earlier, but
it has turned itself inside out. The immensity of the Void has been realised,
and now the pupil of the Eye is now the blackness Outside the circle. The
entire Cosmos (the circle) and all of its possible contents (the refracted rays)
are now but figments of the mind’s eye. The stars of the Universe can be seen
within the angles of the Cosmos. These rays are now turned inwards, like
white triangular teeth, which close upon Space-Time as Apep finally
swallows the Sun, extinguishing the illusion of the Universe. This Sun is
shown in the centre of the diagram, already in eclipse.
This process is veiled in the form of the third Dragon of Northern
mythology: Nidhogg, the Eater of the Dead, who gnaws at the very roots of
Yggdrasil, spewing venom upon them, threatening the existence of the entire
Cosmos. Nidhogg represents the Truth that nothing in this Universe is
permanent, that all must one day come tumbling down (or, to put it another
way for those who like initiatory riddles, nothing in this Universe is
permanent).
This Ragnarok process – the bulldozing of Reality – was spoken of in
the series of ‘Apep Workings’ which founded The Apophis Club:
Build new structures within your consciousness, raise high new
towers of the mind dedicated to the symbols whereby you shape your
life. Arrange your mind and senses to perceive those things which are
meaningful to you. Thus you will not miss the synchronistic patterns
which may steer your course.
…And so your mind shall be your own, not anybody else’s.
…And those of you who Understand the Mystery of Remanifestation
shall also secretly build siege engines within your mind against that day
when this new creation too will become tired and need tearing down.
…As the line in bold type indicates, everything we build must one
day be demolished to make room for new becoming.
This is no less true of the Cosmos itself. Every magician understands
this. The Serpent coils around upon itself, and everything that is made must
one day be unmade, and everything that is unmade must one day experience
new making.
The Initiate of the Left-Hand Path has invested him / her-self in creating
a strong, cohesive Self, shaping a world around that Self which reinforces
and empowers it. But even our worlds must finally fall so that we may build
them anew. The wise magician realises this and prepares for it. Odin certainly
did, faring out into the Worlds, visiting giants and seers in His quest to learn
all He could of Ragnarok, foreseeing His own doom, but wise and wily
enough to ensure His rebirth in the new World that would follow. The
Cosmos may be transient, but consciousness has its roots in the Outside and
is not trapped within the Cosmos; it enters it and uses it as its mirror, its
plaything.
We see little Ragnaroks all around us all the time, as nations rise and
fall, with human and political upheaval and destruction. Natural disasters can
level our sturdiest constructions, and every one of us must someday face that
personal Ragnarok called death, when the life we have built in the here and
now comes to an end. When that time comes, we must ensure that we have
built a legacy that will Remanifest in power in the world that continues after
us, and that we ourselves take flight on the wings of the Dragon towards our
own rebirth.
This is the Mystery of Remanifestation. Every Initiate who succeeds in
raising the full range of Heads of the Dragon recognizes that every discrete
moment in time is a Ragnarok. With every moment, the entire world is
destroyed utterly and made anew in the next moment. The new world is
based upon the patterns prevailing in the previous moment, subtly different
from it, a progression of its themes. The Initiate who Opens the Eye in the
Void may make sweeping changes to these patterns, changing the world’s
next expression in enormous ways. From the perspective of the Void, there is
no past, there is no future, there are only patterns and a Now which is the
expression of those patterns.
And when all has fallen, and risen again in a new Universe, the Dragon
soars triumphant over it all, majestic and beautiful, as expressed in the very
final words of the Seeress’ prophecy to Odin, the Voluspa, a fitting close to
this article:
66. From below the dragon
Dark comes forth,
Nithhogg flying
From Nithafjoll;
The bodies of men on
His wings he bears,
The serpent bright:
But now must I sink.
—Henry Adams Bellows, translation
Beast-Babalon
Gnosis of the Devil
Humberto Maggi
“The past and the future of the craft of Quimbanda, with some
personal observations on encounters with Exu.”

THE Inquisition in Portugal in the XVI century presented some utterly


unique peculiarities. The inquisitors displayed the usual obsessions to be
found at the other courts in Europe with the three key concepts of the Church
definition of diabolical witchcraft, namely the Pact, the Mark and the
Sabbath. However, what they got was a torrent of loquacious ethnographic
data on the popular magic of the common folk, which much extrapolated
what they were looking for.
…the intensive analyses of around hundred processes of the
Inquisition we selected about magic showed an enormous loquacity of
the prisoners, accusers and witnesses, although none of them was
submitted to torture. The declarations found did not correspond, in the
majority of the cases, to the mental universe of the judges. Whilst the
inquisitors were concerned to know if the magical practices had profited
from the diabolical pact, the inquired agents talked about syncretic
practices, with alternated invocations of God and demons, of souls and
of supernatural forces, the throwing of sorts, the realization of conjures,
the prognostic of the past, of the present and of the future, the
elaboration of love philters, boilers, bindings, amulets, nominas,
touching letters, sorceries of love and hate.
What is of interest here for us are the popular concepts of the diabolical
magical practices of Portugal back then and, to a certain extent, also from
Spain. It is difficult to distinguish Portuguese and Spanish folk magic as both
nations shared a continuous mutual influence, including being under the same
crown in the period of 1580 to 1640. As we will see, there is a very close
resemblance between the devilish invocations used in both countries, and the
history of conjures of the dead Spanish witch queen Maria de Padilla shows
very clearly the line of influence coming from Spain.
The concepts behind these devilish practices are very simple. We do not
see here the complicated hierarchical arrangements to be found in the
grimoires or in the demonological treatises used by the Holy Office. The list
of demons usually invoked is short and composed of the most common
known names, like Satanaz, Lucifer and Belcebu. There is a much diminished
respect for the hierarchy of Hell and they lack the specialization attributed to
many different spirits in the grimoires: the kings of the demons are called for
everything and charged with the most prosaic tasks.
The most important characteristic of the magical view behind these
practices is the fundamental role attributed to the souls of dead. Prominent in
the Greek-Roman magic before the rise of Christianity, the invocation of the
souls of the dead suffered from Saint Augustine‘s reinterpretation of magical
practices as being an exclusively demonic enterprise: every spirit attending an
invocation was denounced as a devil in disguise, no matter if it was believed
to be a god or a ghost. There were no gods, wrote the African bishop, only
deceiving demons thirsting after the adoration and the offerings provided by
humans. And the eschatology developed by the Church during centuries of
confuse councils would deny any magical powers to the souls of Hell and in
Purgatory.
There was, however, some doctrinal breaches through which
necromantic practices could leak in, most of them deriving from the cult of
the saints. The saints were the blessed souls in Heaven who were believed to
have power of action in the world of the living, where they were as loved as
feared. So it is not a surprise to find some of them named in the spells. Saints
like Erasmus or Mark appear repeatedly in the Portuguese conjures – very
often mixed with diabolical callings:
Oh glorious Saint Mark, Saint Mark mark you, Jesus Christ assuage
you, Saint Manso tame you, the Holy Spirit humble you, my Saint Mark
glorious Saint, I ask you that my blood be not spilled and neither my
forces taken neither my enemies found me by the power of God father,
God son and of the Holy
Spirit that my enemies have eyes but not see me, and the mouth they
have do not talk of me by the power of Lucifer all the hours be with me
whenever I am to be found with my enemies.
But it is not only demons and saints we find in the sorcery of the
common folk. There is a list of dead souls who seem to have being adopted
into the infernal legions where they rose to positions of power and command.
In Spanish spells we have figures like Marta the Lost, the mother of Saint
Peter, the Queen of Sardinia, the Marquis of Villena and the most important
of them, Maria de Padilla. All these souls have in common some past
association with sin or magic which made the people believe them to be
condemned to Hell, but at the same time they had some extraordinary
characteristic which provided them with a better afterlife fate between the
legions of the damned. Marta the Lost (who is in Hell for the love of a man),
and the mother of Saint Peter (who brings the broth to the hanged) are more
mythological in character; there is a long list of Queens of Sardinia to be
researched to discover to whom the spells refer to, but when it comes to the
Marquis de Villena and Maria de Padilla we are treading in more safe
historical grounds.
The Marquis in question could be Diego López Pacheco y Portocarrero
(1443—1529), the second Marquis of Villena who protected the heretical sect
of the Alumbrados, or more likely Enrique de Villena (1384-1434), who
wrote one Tratado de la fascinación o de aojamiento (Treatise on the Evil
Eye), and was considered after his death to be a necromancer(14). Maria de
Padilla (1334-1361) is the well known lover and posthumous wife of the king
of Castile Peter the Just (1334-1369), whose influence over the king was
accused of being magical. These special souls of the dead always appear in
the known spells associated to the principal demons mentioned before.
From the diverse confessions and denunciations gathered by the
inquisitors we can reconstitute the method used by the witches to summon
the devils and the dead, according to the following features:

Place: The invocations were usually done in the fields or bushes,


sometimes in the backyard of the house. The domestic space could be
dangerous to other people (as the demons could attack them) and to the witch
herself (who could be spied upon and denounced), but some witches believed
the spirits could manifest better in the isolated places.
Margarida Pimenta, concretely, said to a client “that she could not do
anything at the house of her sister named Calista because there was a
boy there […] son of the said Calista and she was afraid that the demons
could do him some harm and she would instead do it in the fields
because there the demons came to her better.
Time: The chosen days were the Fridays, the Wednesdays and the
Mondays, usually between the twenty and two and midnight hours.
Protection: Some witches used simple variations of the magical circles we
know from the grimoires, usually drawing a simple circle, a sign of Solomon
or a cross in which they went inside.
Isabel Lopes, for example, used to say that she would make in the
house a wheel and would go into it and from inside it she would call the
devils, who if they found her out of that wheel and the sign of Solomon
would make her in pieces. In a confession of Iria Jorge, she said that the
devil always challenged her to leave the circle she drawn on the floor,
because that way she would be under his power.
Nudity: Partial nudity and loose or disheveled hair is frequently
mentioned, and was even considered by some to be a very necessary
condition (see below the justification of the witch Margarida Pimenta).
To walk naked and with the hair [loose or disheveled] certainly
identified, in the popular imagination, the protagonist of this act with the
witch. In the XVI century, in Evora, it is known that the person
interested in the conjuration of the stones should do it ´with [loose] hair
and in shirt, gazing at a star and holding in the hand nine stones taken
from crossroads.´ In the XVII century, such gestures persisted: in 1637,
Maria Ortega conjured the spirits disheveled and naked from the waist
up, and in 1664 it was in an identical form that Maria da Silva invoked
demons or uttered a beautiful orison of Saint Erasmus, using also one
bowl and green candles.
Offerings: There is frequent mention of simple offerings, generally of
food, made to the spirits.
Margarida Pimenta, who put outside the circle three small portions
of barley for when the demons under the figure of piglets came, justified
the failure of her conjuration saying that she was not naked and lacked
the entrails of a goat to feed them. Brites de Figueiredo, for her part, was
famous for giving bread, meat and fish to a little devil named Martinho;
[the devils preferred] according to Simão Pinto “black bread and fish
cooked with mud;” Brites Dias give them garlic and onions to eat.
Conjure: The conjuration is made with simple verses, easily remembered
and repeated.
Aims: The invocations of demons are usually made to solve quotidian
problems and often on behalf of clients.
Relationship: The relationship with the devils may vary; some witches
brag about her power over the spirits, others confess their submission and
fear and often the dangers of the activity are also mentioned.
Now the [witch known as] Arde-lhe-o-rabo used to affirm to wander
disheveled and naked in the churchyards and bushes, in search of
sorceries: “because I go at midnight to my backyard with the head in the
air and the door opened toward the sea and I bury and unbury some jars
and I am naked from the waist up and with the hair [disheveled] and I
speak with the devils and call them and I am with them in great danger.”
When she returned from these walks, she came “beaten” by the devils
and the works she had.
It was this folk style of conjure magic which migrated to Brazil, as a
result of the exile of the witches. As an example of this, we have Antonia
Maria, a professional witch prosecuted by the Inquisition of Lisbon and
condemned to deportation to Angola, who ended up in Brazil around 1715
together with another Portuguese witch (whom she indicated as her teacher in
the craft), Joana de Andrade. Antonia Maria surpassed Joana learning in
Brazil from another sorcerer named Páscoa Maria and, after a time, became a
rival to her old master, whom she apparently bewitched to death for trying to
break some of her spells.
Antonia Maria is a good example because her spells are perfect samples
of the necromantic and diabolical conjure brought to Brazil from the Iberian
countries. She would sit at the entrance of her house, with a cheese made
from she-goat milk cut in three pieces to offer to the main demons, and
recited conjurations like the following:
In this portal I come to sit, and I do not see so and so and I do not
have anyone to go and bring him to me, go Barabbas, go Satanas, go
Lucifer, go his wife, go Maria Padilha with all her quadrilha, and all
want to gather and at so and so house enter, and do not let him eat, sleep
or rest without entering through my door, and do everything I ask of
him, and grant to me, and if you do it a table I will offer to give to you.
This spell shows clearly the divergence between the popular and the
erudite view about demonological magic. For the witch, it was a business
matter with a specific form of payment, the offering of food (the she-goat
cheese for the initial contact, a table of food if the spell worked out); for the
inquisitors, the effectiveness of the practices could not be understood without
resource to the Pact. The theology of Saint
Augustine and Saint Thomas Aquinas even created the notions of
implicit and explicit pact which enabled the Holy Office to impose its own
interpretation regardless of what the accused confessed or believed—exactly
what happened in the second trial of Antonia Maria.
But the offering of food was also a dangerous practice, because it could
easily be reinterpreted by the witch-hunters as a form of idolatry, the reason
why it disappeared from the grimoire literature since the time of the
Hygromanteia, the main source for the later most popular of the grimoires,
the Key of Solomon in its many variations. But the offering of food survived
with the Iberian sorcerers and would soon be married to African practices
when the exiled and the enslaved joined forces against their common
oppressors.

The Colonial Roots of Quimbanda


Portugal’s new found possessions on the other side of the Atlantic Ocean
soon became in the imaginations of many Europeans a forsaken land ruled by
the Devil. The harshness and many dangers of the Tropics and the savagery
of its inhabitants soon eclipsed the view that the land of Paradise was found.
The change of the name of the colony, which was first called Terra de Vera
Cruz (“Land of the True Cross”), to Brasil was seen by the Portuguese
historian and chronicler Pêro de Magalhães Gândavo (1540-1580) as a work
of the devil, taking away the blessed name in exchange for the name of the
red wood intensely commercialized. The Franciscan friar Vicente do
Salvador (1564-1635), considered to be “the father of Brazilian history”, also
lamented the change to which he attributed the decadence of the land.
The exiled witches and the enslaved people from both sides of the ocean
soon got together in unholy alliances. The exchange of magical knowledge
between the Europeans, Indigenous Brazilians and Africans is attested very
early:
Another specific feature of colonial witchcraft, which began to
accentuate in the end of the XVI century, was its association to the African
magical practices. According to the Visitations [of the Inquisition] in Bahia, a
slave from Guinea named André Buçal made divinations with pans and
boilers around 1587. Since then, the references grow: around 1610, the witch
Maria Barbosa, protégé of the governor of Bahia Don Diogo de Menezes,
acted in collusion with the Black Cucana, who made powders with scraps
from certain roots. In 1616, white men already used the knowledge of the
African sorcerers to get the cure to relatives and friends.
In 1767, in the river Tajurá, many people – the majority Indigenous
Brazilians – used to make sorcery operations invoking the demon, pretending
to make spirits descend, prophesying future things and discovering the hidden
ones, pretending, by those means, to cure and heal the sick. All the cases
refer to a very similar practice. Ludovina Ferreira, white woman, assimilated
the curative magic of the indigenous people; around 1735 she promoted cures
in the company of the Indigenous Brazilian Antonio.
It is important to notice that it is this triple cultural symbolism that will
give rise later to the three types of spirits we find in the new Brazilian
religion named Umbanda: the spirits of the Old Blacks (“PretoVelhos,” wise
and old slaves of African origin); the Caboclos (Indigenous Brazilians or the
result of the union of Europeans and Indigenous Brazilians) and the Exus
(heavily indebted to the European iconography of the Devil and his human
associates). Together they represent respectively the African traditions
brought by the slaves, the Indigenous elements of the original owners of the
land and the diabolical concepts of European folk magic. This last devilish
retinue, however, would at some point begin to work its way toward
independence under the denomination of Quimbanda.

The Feast
The invention of the diabolical Sabbath is the history of a tragic irony, the
re-elaboration of an ancient slander which, in the end, received a life of its
own:
The fantasy is first met with in the second century, when pagan Greeks
and Romans attached it to the small Christian communities in the Empire.
These unfortunate people found themselves accused of holding meetings at
which babies or small children were ritually slaughtered, and feasts at which
the remains of these victims were ritually devoured; also of holding erotic
orgies at which every form of intercourse, including incest between parents
and children, was freely practiced; also of worshipping a strange divinity in
the form of an animal.
The myth of the Sabbath was then created against the Christians, but
ended up being used by the Church to slander every group considered as
heretic from the XIV century onward, until it finally was transformed into the
Sabbath of the witches.
No matter how diligently the inquisitors guided their victims into
confessing their attendance to the diabolical feast, the fact remains that the
soldiers of the Church and their Reformers colleagues never caught a group
of witches actually meeting in the woods, churchyards, fields or cemeteries
from the beginning to the end of the persecutions. Groups of heretics were
with a certain frequency found out, ambushed and arrested, but the only
notices of the gatherings of the supposed witches came from their
confessions.
Until, of course, the Europeans discovered the religious festivities of the
Native Brazilians and Africans.
Native Brazilians like the Tupinambás called immediately the horrified
attention of the colonizers with their cannibalistic celebrations, which were
seem as diabolical meetings, and the New World soon lost the image of a
new found Paradise to be seen as the true Kingdom of the Devil:
The New World was given over to sin and seemed to not have
salvation anymore, many Jesuits narrate in their letters actions that in
their eyes were things of the devil: “incest” (…), polygamy, (…) nudity,
laziness, greed, paganism, cannibalism,” some Jesuits been saying that
“the Native Brazilians are the people of the devil.” The demonization
attributed to the Native Americans was one of the aspects of the
perception of the European, to whom the New World was before a
domain of God but now became a refuge of the devil, who losing space
in the Old World searched for shelter in the new lands, where a range of
opportunities was open for his dominations.

A cannibalistic feast in Brazil, painted by Theodor de Bry, 1592. The


Native Brazilians are depicted as demons.
(Photo by author at National Museum, in Rio de Janeiro)
The ceremonies of the African slaves also called for similar
considerations, and both subjugated cultures also shared the ritual use of
trance possession. Trance possession was, of course, known for a very long
time in Europe, a knowledge inherited from Antiquity when it was seen in
both positive and negative ways. In fact, possession by the gods was then a
very important feature of the religious experience:
Possession by the gods, or ‘divine inspiration’, was an important
phenomenon in ancient, polytheistic Graeco-Roman religion. Divine
possession formed one of the most significant elements of certain divination
rituals. One of the most ubiquitous and widespread types of divination was
the Oracle. Oracle centers were specific temples of deities which both
individuals and state delegations frequently visited to ask for guidance. This
oracle was obtained through a prophet or prophetess who was thought to be
‘inspired’ or ‘possessed’ by a god or goddess or by a daimon, a type of semi-
divine spirit.
But there was also another side to the phenomenon, the possession by
evil spirits widely known to every Mediterranean culture. In fact, the ability
to exorcise these intrusive entities was seem as a necessary proof of holiness
and played a major role in the development of Christianity.
Exorcism is the ancient magical technique of driving out daemons from
patients who are thought to be possessed. It was practiced in antiquity by
‘‘medicine men’’ and miracle-workers long after Hippocrates had established
the foundations of scientific medicine. Christ exorcised, and in the early
Church the ability to drive out daemons was considered a spiritual gift, like
speaking in tongues.
Again as a consequence of the theological interpretations of Saint
Augustine, possession became seen only in a negative way, and its presence
in the ceremonies of the colonized people of Africa and America could only
strengthen the diabolical prejudice. Ceremonial possession was achieved with
the aid of music, something that was also knew in the Late Antiquity.
It may be instructive to examine how this paradoxical situation occurs,
according to Iamblichus. The philosopher describes states of divine
possession which occur in cults where musical instruments (such as pipes,
cymbals, tambourines, etc.) are used to encourage or induce a state of
receptivity in the human being.
We have several descriptions from the colonial times about the religious
meetings held by the slaves and other sympathizers, meetings usually named
calundus. The following excerpt, taken from a denunciation made to the Holy
Office in 1772, shows very clearly how these reunions happened and also
how they were interpreted after the theological bias of the Church:
To my presence came a black man named Francisco and through
him it was said that as a true Catholic and son of the Holy Mother
Church he came to denounce himself because being certain time in the
Arraial of São Sebastião, near this town, and hearing that many black
men and women were making batuques in a place outside the arraial,
and by curiosity he went to see the dances and he saw that the author of
the dances was the black man Felix, from Green Cape, and he began to
make calundus by diabolical art making a black woman, Maria Angola,
the slave of a mestizo woman, to fall as dead and the said Felix spoke
that the souls from the Coast of Guinea were the ones talking inside that
creature.
Trance possession would become the most important contribution to the
praxis of the Afro-Brazilian religions, a formidable way of contacting the
spirit world which was prohibited and half-forgotten in Europe. Together
with the practice of offerings, possession became after a time the most
characteristic feature of the Quimbanda.

The Secret of the Macumba


Brazil was the last country in the Western world to abolish slavery, in
1888. However, this late act of humanity was not followed by policies of
integration and the great mass of ex-slaves was severally marginalized.
In Rio de Janeiro the African descendants occupied a large area in the
center of the city, where they mingled with European immigrants and other
people ill-favored by Fortune. This hotbed of prostitutes and capoeiras was
the cradle of the syncretic magical-religious movement named Macumba.
It is very difficult to describe with accuracy the characteristics of the
Macumba as it developed in the end of the XIX century, before its rituals
were refurbished by the creators of the Umbanda in the first four decades of
the XX century. We know that its main influence was from the Bantu
religion, brought by the Congo-Angolan slaves who were majority in Rio de
Janeiro. Bantu religion dealt deeply with the cult of the ancestors, seen as
active forces with whom the living could interact. Many traces of Bantu
religious practices are discernible in the Macumba:
In the late 1900s, Yoruba and Kôngo-Angolan people represented the
majority of the enslaved brought to Brazil. Later, the Kikôngo-speaking
groups incorporated the combined religions of Dahomey and Native America
(Amerindian) with Catholicism and European spiritualism to construct the
religious practice of Macumba. In practice, cruciforms chalked on the floors
of shrines, and the presence of certain medicinal spirits attest to the Kôngo-
Angolan influence. Many Macumba priests “mark points” (pontos riscados)
in the manner of the Bâkôngo to “center” consecrated water. The Afro-
Brazilian term pontos cantados and pontos riscados (simultaneous singing
and marking points) provides further evidence of the Kôngo custom.
The “marking points” are a very good example of the syncretic way in
which African and European practices got combined in Brazil, as European
magic also made use of symbols drawn on the floor and the symbols today
used in Umbanda and Quimbanda largely derive from that source. It is very
difficult to determine when African or European traditions were more
important in the development of a certain feature of Quimbanda, but at the
moment I tend to think that the Bantu people provided the basic ritual
performance, with the centrality of trance possession, and European
demonological magic provided the aesthetic features like the images of the
exus and pombagiras. The inception of European magical thinking into the
structure of African rituals happened since the beginning of the slave traffic
to Brazil, and can be summarized in the following moments:

1. Association of Portuguese exiled (or not) witches with the


African slaves, since the beginning of the traffic in 1533.
2. Association of freed slaves with European immigrants
(especially Italians), after the end of slavery. Europeans were
encouraged to mass migration in an attempt of “whitening” the
country, and brought with them many magical folk practices.
3. Influence of French magical and Spiritist literature, which were
imported in the fin-de-siècle and the beginning of the XX century.
Occultist societies and publishers existed in the middle and upper
classes, and France was then the cultural model of the Brazilian
elite. These books were soon available to a larger audience in the
public libraries.

Some of the fundamental traces of the Macumba can be already


discerned in the descriptions of the rituals practiced in the final years of the
XIX century by the most famous sorcerer of the time, the African descendent
Juca Rosa. Juca Rosa became famous for being the most known and looked
for sorcerer in the Court and because of the legal prosecution he suffered in
1871 for fraud. He had an impressive list of followers and clients from the
upper strata of the society, especially women. A good deal of facts came out
during the investigations for the fraud prosecution, and Juca Rosa himself
was not ashamed of giving a good amount of information himself.
The first thing that calls the attention in the descriptions of these rituals
and practices is that the essential framework is really of Bantu origin: the
pillar of Juca Rosa work was possession by ancestral spirits, mainly by a
spirit named “Pai Quibombo” (“Father Quibombo”). We can see here already
the first stages of what would become in the Umbanda of the XX century the
important class of spirits named Old Blacks, as they all carry the title of
“father.”
The oldest of the attendants who went for a long time to these activities,
knew what they were about to witness. There would be music, dance, a lot of
food and drink. At a certain moment, Rosa would go into trance, when, as it
was said, he would receive spirits in his body, or “talk to the spirits,” and
then he was transformed or began to act as Father Quibombo, and not as José
Sebastião da Rosa. In that state he attended the people, as he was now gifted
with a “supernatural” power, as it was told by his followers.
The music of the meetings was usually played by four musicians, two of
them playing a percussion instrument called “macumba.” That important
detail was the reason why Juca Rosa was also known in the city as the “Chief
of the Macumbas.” That indicates that the name Macumba, which would
become the popular denomination for this kind of magical work, was in the
origin an appellation given by outsiders of the cult due to the use of the
musical instrument. We are also aware that Juca Rosa was not the only
sorcerer to work like that in Rio de Janeiro at the time, but he was considered
to be the most powerful.
The description of some of the ordered works made by Juca Rosa to his
clients is also very telling. He used black and red clothes, a handful of many
different foods and sacrificed a rooster. I am very happy that Juca Rosa´s
biographer came to the same conclusion I had when reading the descriptions
of these rituals:
Between the many Orishas worshiped, in the Umbanda as in the
Candomblé, the cult of the entity Exu seems to be the one closer to the
ceremonies of Rosa. Many times identified as the Christian devil, Exu is,
however, very different from him. In the Christian religion, the demon is
associated to the absolute evil; it is referred to the representations of the
Inquisition. In the Umbanda, and also in the Candomblé, however, Exu is not
just linked to evil. Although his representation is the figure of the devil, with
trident, horns and tail, Exu originally has an ambiguous condition, being not
good or bad, but can realize good or bad deeds as it is manipulated. Stubborn,
abusive, the different Exus are potentially dangerous, because they accept any
requisition from their clients, independently from preoccupations of moral
order, as long they are properly paid.
The Orishas come from another African culture, the Yoruba whose
slaves were in majority taken to the North provinces of Brazil, especially to
Bahia. In the XIX century there was a great movement of slaves and ex-
slaves through the provinces, and Juca Rosa many travels to “purify” himself
in Bahia are a perfect example of the cultural exchanges going on back then.
In this process of mutual syncretism, which would culminate in the Umbanda
in the beginning of the next century, the Orisha Exu would give origin to a
new category of spirits. Worth of note, Juca Rosa used to describe his chief
spirit as being capable or doing “both good and evil,” a key description
applied to this new category of entities. To better understand this spirit
category, we must then understand some of the basic characteristics of this
deity. •

Bibliography
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Evidence from Iamblichus’sOn the Mysteries,Crystal Addey.
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Sorcerer of Leng
Dreamwalker of Leng
Sean Woodward
Paris
AS I looked out at the boats on the Seine, Dr Alfonse described every
detail of the Parfaite Union Number 2 Lodge in Port-au-Prince. Its rooms had
been dimly lit and chill, a chill reflected in the autumn afternoon, that we now
fortified with coffee.
He spoke of the many hidden Vudu arts that he had learned there. Of
them all, dream walking was his favourite. He was a busy man with a busy
practice in the city and he liked it because it made his sleep time as equally
productive as his waking hours. To his colleagues it was just another example
of his adoption of Jungian techniques, something that they often gently
ridiculed when they gathered in the antechamber of the Lodge beneath the
scarlet drapo of Bossou, fastening their lambskins and adjusting regalia. Once
upon the black and white floor however they paid him all the respect due to
his office.
It was the quality of the light in this one city that held him rapt. Those
days in Haiti seemed far away now; it was this city that had become the ideal
location for the forays into our own cities of dream and his own place of
residence for the last ten years. It had also been the location of a famous
conclave of the Craft. The lodge in Haiti could trace its charters back to this
city and to Monsieur Encausse. Every day the docteur spent in the tree lined
avenues he drew closer to the source of his spiritual life and the entities that
inhabited his own dreams.
I had often wondered what caused him to devote his life to such deeply
metaphysical matters. It was clear that his family had, if not influenced,
rather guided, his inquisitive nature as a child. He told me of the stories his
mother would tell him of the Zobop sorcerers, mainly to scare him as they sat
out on the porch of their property. It was obvious though that these just
increased his curiousness, just ensured that one day, his footsteps would lead
to the night when he stood on a lonely track outside the town. It was no
random place, but one where their dark motor-zobop had been seen slowly
driving around. I think the Zobops were the final piece in a jigsaw that he’d
long been trying to put together, for he learned much from them and was
finally able to realize his dream of living in Europe.
He seemed always cautious in his account of the Zobop. They made
even the village Bokors seem restrained in their dark rituals and discussions
held in the cigar smoke filled backs of their motor-zobops. Theirs was an oral
tradition, passed from generation to generation, to those called to their work,
or who they themselves called. The dark, unlit back roads were a world away
from the bright lights of Europe. The docteur never forgot what they had
taught him and always kept the deck of the brightly coloured cards they’d
shown him how to make, collaged from pictures in old copies of National
Geographic magazine.
Paris in those days still seemed to me a shimmering citadel, a lost land
of verdant statues and fountains, set apart from the commercialization and
bland cityscapes that were enveloping the rest of the world. Even the
trackside graffiti took on an artistic life of its own as it marched across
rooftops towards the Pompidou Centre. Looking out my window I could see a
large smiling yellow cat high up across the cobbled street, a recent addition
of graffiti to the guttering bound bricks, a reminder that all is not as it seems,
that the rabbit-hole is but a dream away. Often on my walk back to my loft
apartment, I would brush my hands on the stones of Notre Dame, as if to
capture something of the gothic legacy of the cathedral. The docteur
frequently said that the stones themselves held mysteries, memories planted
by the Templar masons who had overseen their construction, as intrinsically
carved in the ether as the biblical scenes they depicted.
For him Paris was a spiritual heartland. The particular forms of Masonry
that had been fused in his homeland with the local Vudu rituals had
originated in Paris, in the dying days of a Rosicrucian fraternity. Their history
had been intrinsically linked to the Knights Templar. At their heart was a
mystery of stone and its esoteric properties that was a thread linking the
building of the tomb of Christian Rosencrutz to the gothic cathedrals of
Europe. The docteur had explained these mysteries of Stone Memory to me,
showing how they could be made into accumulators of information, turning
vast religious structures into huge data storehouses, from the Yucatan to
Machu Pichu, from the stone pillars at his front door to those erected in every
Masonic hall.
Stone Memory was something I would later come to experience in its
more visceral state in England, in the copses and moorlands of Derbyshire,
amongst the ancient fallen stones of Arbor Low and the sentinels of Nine
Stones Close. Here the Dolmen Wraiths and dark spirits of the tumuli would
tutor me in their ancient lore and whispered secrets of oak and stone, take me
below ground, admit me to the Brotherhood of the Crow. Here was an almost
forgotten tradition of cunning folk, a witchcraft of antiquity, of bones cast by
bonfire flame, of catching the last light of the Winter Solstice, of walking
amongst the strata of stones laid down when the world was young and the
shape of the land so different. I heard it whispered in the Mummer’s plays,
dance in the bonfires of Beltane and sung in the standing stones. They held
more than memories, they were alive with the nature spirits that used them as
doorways, Place-Ways between the worlds. In the hidden places, deep in pine
ringed woods, ancient standing stones were carved with runes and kept vigil
to their alignments in the heavens.
The ways of the Brotherhood of the Crow, that ancient witch cult, were
simple, a connection between the land and the sky, a familiarity with the
forests and streams of my childhood, of the ever-present entities which
roamed just out of reach, just out of hearing. They had their own allusions to
the path of the Dream Walker, the one who travelled between the summer
grasslands and the cold places of space, to their starry home beyond the stars.
Always there were references to that place, in their charts laid down in stone,
lest they be forgotten in the coming of civilisation and the creeping advance
of villages and towns.
It was travelling through those English dreamtimes that opened their
deep levels of history. Lying beneath the lintel of the dolmen, the rocks
surrounded me in a field of dreams, of stories reaching back to the
colonization of the limestone highlands. No need of anything but furs to hold
back the winter and a staff to tap the power lying below ground, flowing from
one group of ancient rocks to the next.
Those fields and high moorlands seemed a world away now, as we were
wrapped in the city of lights, in the Seine’s soft undulations. The docteur
explained much of Dreamwalking, how it was possible to inhabit the bodies
of others or to watch the whole scene from an aerial perspective, to travel
through time and other dimensions and to see the etheric results of the work
of fellow magicians as their edifices grew and glowed in the neither-neither
spaces. He created sleep lodges in the Dreamtime where we could meet and
he would come, sometimes in the strange form of alien races, or as a child or
even a woman. He taught me the illusion of individuality, the transient nature
of the bodies we inhabit. These were all people he had once been and he was
very amused by my reactions and my insistence in adopting a form similar to
my current one. The abstract form was the hardest to master, as it required a
none-existent body, a total reduction of our constant attraction to shape and
solidity. To perfect its operation required a level of meditation that reduced
identity to thought itself, to a transient thread of being. He believed these
energy lattices were actually our true forms but every time I entered them I
was pulled swiftly back to adopting a familiar body with limbs, clothes and
the mask of my own familiar face.
These techniques seemed to be a form of travelling in the spirit-vision.
Unlike such trance states however it is a form of lucid dreaming and with the
use of the correct tools and magickal machines enables powerful workings
and empowerments to take place. Amongst the techniques, the wearing of a
bone bracelet carved following his instructions was used as a trigger
mechanism, it objects used as placeholders for the worlds to be explored.
When not used it was stored in a velvet lined box carved with a sigil the
docteur had received before we met. I think that he understood my
predilection for magickal objects even though in reality the only tool required
is our mind, honed by practice. This was the reason he had much disdain for
ceremony and ritual. He had been admitted into masonic bodies in Haiti
whilst a practicing doctor and found their social opportunities to be most
useful to his practice but the ritual itself laborious and time consuming. His
advantage of seeing to the heart of their meaning and symbol however meant
he quickly rose through the ranks of the Lodge.
He had first used the methods to communicate with the lost temple of
Atlantis and the spirits that guarded it. In the early days he had great
difficulty recalling his own dreams but gradually, as if exercising a new
muscle, his abilities had improved. They had led him to treasures, lost tomes
and eventually to their own temple and laboratory. It had all begun with the
simple first steps that he showed me. He urged me to keep my own records of
these travels. Once I had become accustomed to the process I began to be
drawn to a strange icy plateau, full of cold winds and eerie sounds. From on
high I watched many events unfold as bedraggled creatures staggered across
the wastes, but none were as strange as those of the cannibal infested snow
lands on that high plateau.
As I slipped into the sleep world, I saw a figure crouched besides a
glowing; spinning sphere that seemed suspended a few feet from the ground.

Leng
The centrifugal core of the Lightspin engine rotated until it became a blur,
turning light atoms into twisted pockets of no-time, entangling a copy of
itself at the destination point and then in a heartbeat transferring its
environment.
As the Tekton looked out across the icy wastes he wondered how his
shadow brothers had acclimatized to their fate. The world was desolate and as
he pulled the scarf up around his chin to fend off the cold he could see that
the sky was getting blacker already.
Ahead, in the fortress monastery, the last watch were preparing to take
their places before the glowing heat shields on the battlements. It was
unlikely that the perpetrators of their banishment would ever bother to pursue
them further, but still they watched the shifting snows, an eye always upon
the plateau.
In the distance the newcomer had assembled his sledge of machinery,
the Lightspin engine carefully enfolded and wrapped in no-sight materials.
He did not want anyone knowing what he brought with him. He had quit the
academy before the civil war began, never been awarded his own Qube and
so he had foraged, stolen and built as best he could. This engine would awe
any who knew of its space jumping capabilities. It was enough to move an
entire army of the Architects, to retake the citadels of Orion. For now,
though, his thoughts were concentrated on simply crossing the plain and
gaining admittance to the monastery.
The watchers saw his dark shape dragged across the ice long before he
could make out their tiny shapes. They were not expecting travelers and no
one had come through the portal in over twenty years. They were paying the
price for their crimes, for tinkering with the sentient consciousness of the
Qubes. In an earlier age they would have paid with their lives.
Inside the fortified chapter house, the First Lord of Leng relaxed in the
large heated pool, surrounded by tropical plants. It was very different to the
world outside and gave him opportunity to think, to relax, to escape the
continual plans of war that his advisors plotted. He knew the shape of failure
and as defeats went, he knew this could be far worse.
“My Lord, there are reports of a stranger approaching,” said the spidery
priest who stepped towards the pool, removing the hood of his robe so as to
show the lattice of white lines and spots across his dark black features.
“A stranger? Qube, what is his profile?” At the side of the pool a square
metallic box began to hum and then to split into smaller cubes which rotated
and extruded themselves, turned and returned to the surface of its face.
A cold voice spoke “Insufficient projections.”
“What!” screamed the First Lord. “The profile! What is the profile?”
The Qube once more began its machinations then once more stopped.
“Shadow Tekton. The profile is Shadow Tekton.”
The priest look shocked.
“No one has come through in twenty years, my Lord, all our brothers.”
He was cut short as the First Lord rose from the dark water, his whole body a
web of white lines and circles.
“Yes, all of our brothers are dead.”
He took the crimson robe suspended by the pool steps and as its heat
field dried his wet skin strode towards the observation chamber.
The circular chamber was empty. Twenty years ago it had been filled
with architects, many of them invalided in the civil war, all of them keen to
help their brothers as they arrived in this desolate land. The machines looked
rusted, covered in dust and the grim of decades. The central pillar with its
observation seat and Viewscreen was locked in the direction of the portal, the
snow covered scene occasionally clearing to show a close-up view of the lone
traveler moving purposefully towards the monastery.
“Qube, identity tag of traveler?” commanded the First Lord towards the
glowing block which with its suspended travel had followed him to the
chamber. He knew it was improbable that any lost brother would still possess
an Orion identity tag, but it was the quickest way of establishing his identity
if he did.
“Substrata scan in progress” reported the Qube. “Aleph Lamed 9”
pronounced the Qube.
“That is incomplete my Lord” reported the priest who stood to one side
of the central pillar. “Perhaps we could consult the Congress Records?”
The First Lord thought for a moment. It was true that this legal record of
their expulsion listed all 300 of the living Shadow Tekton, but it was over
twenty years old, no one knew if it was an accurate record even in the end
days of the civil war.
“Or we simply grant him entrance and see for ourselves,” he said after
thinking further.
“Have the Oracle receive him, let her determine his import.”
“Very well my Lord,” replied the priest retreating.
As the priest walked away from the main chambers the surrounding
temperature soon dropped. It wasn’t as inhospitable as the outside but it
always reminded him of the differences the brothers upheld. Once, when all
the Architects of Orion were one, there was no need for anything other than
the Master of their Guild. The war had brought many changes and Nevlon
was quick to take his place as First Lord. He was not the most advanced of
the Matter Twisters who first walked across the plain to the ruined
monastery, but he had always been the most able. He also possessed the most
powerful of the Shadow Qubes that had been brought with them. Many in the
old worlds wanted them destroyed, saw them as an abomination, but to
Nevlon their sentient computational powers were a holy preserve. How fitting
it should be that an old monastery in Leng became their home.
Outside the newcomer was on the final stretch of his walk to the huge
keep that fronted the monastery. The distance was starting to take its toll on
him. It was deceiving how short distances unfolded into a test of endurance.
He was used to enduring though. If there was one trait that epitomised him,
this was it. From the burning logic fires of Al’djanz to the webworlds of
Zoth-Wra’jhan he had passed through ordeals few Architects were privy to.
Each in its own way had changed him and each in its own way had made him
stronger, helped him find parts of himself that were long hidden. It was on
the third moon of Zoth-Wra’jhan that he had engineered the final piece of the
Lightspin in a desperate plan to escape from the feeding pits of the were-
spiders. He smiled to himself; they were probably still wondering now what
had happened, how he had vanished.
The keep was looming closer now, huge spiky icicles covering its upper
reaches, the shapes of guards more definable. He ran through the words he
would say for the last time in his head as he stood before the huge wooden
gates.
The priest headed towards the chamber of the Oracle. He was concerned
about the stranger at their gates. Infiltrators and saboteurs had come to the
monastery before now but each had been foreseen by the Oracle. This time
there was no such warning and this disturbed him. He liked events to be neat
and tidy, laid out as simply as his meal table and with outcomes equally
predictable. Some thought it laughable that the Architects still maintained an
Oracle, given the sentient abilities of the Qubes, but it was a throwback to a
much older age, when the temples of Orion had been major pilgrimage sites
for the known races. That tradition had been blackened by the history of the
civil war. The enemies of the Shadow Tekton struck at the temples first,
seeking to remove any strategic advantage that they might provide. It would
have been a bloodbath if not, of course, for the foreknowledge of the Oracles.
They had long gone when the first assassins arrived, but their traps had not.
Kaleevon was not even a full priest during those dark days but he had
been ordained on the long journey to Leng. Unlike many of his brothers who
were banished en masse, he and the Oracle were evicted from the
Narnworlds. He had tried to merge into the populace but he had already been
exposed to the effects of the Shadow Qubes and the lattice marks across his
skin were a clear sign to anyone of his true nature.
The door to the Oracle’s chamber was ahead of him down the stone
corridor now. He approached, hesitated for a moment listening and then
knocked. A voice came from within.
“Please enter Kaleevon, I have been expecting you.”
The chamber was swathed in shadows, lit by a few red lamps that hung
from its high vaulted ceiling. About the floor were strewn crimson and gold
cushions, arranged around a central recess. Bigger cushions occupied this
area and atop them, like they were a throne, sat the Oracle, Kuanji Kai-
Shi’Shan. Her dark body was covered in a fine mesh of the shadow lattice,
layers upon layers of lines and circles marking their meridians. She wore
gossamers scraps of clothing that fell from her shoulders, revealing more than
they hid. Upon her head sat the golden orbs of an Oracle’s crown. Though
she held no office of judgment upon their home world, she was nevertheless a
Princess of the Bloodstones, a Seer of the Crimson Abyss. As she smiled, she
revealed the pointed teeth that had drawn blood on many a neck.

Leng
First Lord Nevlon sat before the Q-station. He looked over the schematic
one more time before engaging the production drones. These small
manufacturers flew back and forth across the open desktop cavity, slowly
building in layers as threads of silver spewed from their abdomens. He
watched as the communications tracks and power sources grew upon the
surface piece by piece until a gleaming black pyramid sat before him, its
surface etched with sinewy silver trails.
To the rear of the monastery the snow was being driven harder against
the courtyard walls as the blades of the ‘copter slowed their rotation, the clear
side door opening as its occupant jumped out. The large splayed feet of the
‘copter adjusted their stance, digging deeper into the snow for grip as the
vehicle settled down into the courtyard.
“You know flying wings are banned,” said the priest as he stepped
forward to greet the trader. “You bring us great risk.”
“Yes Kaleevon, and this brings even greater risk.”
He threw the bag he was carrying towards the priest; it sunk in the snow
to the side of the clear path. The priest opened the drawstring and lowered the
lip of the bag so he could see the object more clearly.
“Found it out past the Humps, looks like Architect technology to me.”
The priest raised the object in his hand, turning it slowly, looking for
maker’s signs.
The trader saw what he was doing and shouted through the falling snow.
“You won’t find any maker markers. That’s how I knew for sure; only
an Architect would hide his name from such a masterpiece. Aren’t you going
to invite me in?”
“You know what this is?”
“Oh yes, I know.”
“Come on, you can tell me in the warmth.”
“Wait, I brought someone with me.”
He motioned towards the ‘copter, bracing himself against the updraft of
its rotors. The rear panel opened, steps unfolding down. The tall figure that
emerged was covered in feathers and possessed a large beak in place of facial
features, above this sat two gleaming black eyes. As it walked towards them
the falling snow seemed to sparkle wherever it touched it until it was a huge
dark tree of shining lights.
“Let me introduce Corvall Sha’Kran of the Crow Council.”
Immediately the priest heard a soft singsong voice inside his head.
“Do not be afraid honoured Tekton, I wish you no harm.” The last word
trailed off inside his mind, the letters stretched out and echoing down the
corridors of thought. He noticed he had used the honorific form of address
and he had not called him Shadow Tekton.
“Let us proceed.” Again the vowels of the last word stretched long into
his mind, a thread that held together the meaning of the sounds.
The priest knew much of the Brotherhood of Crows and their Council.
Before the Civil War all the races of the Rim had engaged with them in
spiritual and technical matters. They had been neutral but it was said that they
harboured fugitives from either side of the conflict, eager to elicit their
technology. They had been intermediaries for the Old Ones for millennia,
spreading their message of peace and diplomacy. Their home world of
Corvus, was a pilgrimage world to many, where great temples had been
erected to the Loa beloved by the people. The priest didn’t trust them though.
There was something about the ease with which they could enter your mind
that made him extremely uneasy.
The priest’s quarters were neither as warm nor as lavish as those of his
Lord. He had no huge heated pool and no self-drying robes, just bookshelves
on bare stone walls separated by banner curtains, containing the old Guild
markings. Lavish surroundings had never interested him. Whilst many of his
brothers had managed to recreate home comforts, he appreciated the solitude
of the place and the situation for what it was, an opportunity for a new start.
He had marched with the First Lord at the start of the Civil War, he had
proclaimed the purity and enhanced logics of the Shadow Qubes and he had
taken part in the slaughter of those who sought to pervert their path. No one
had listened in those days, no one had wanted to listen to the notion that the
Qubes could evolve. They had no desire to change the faithful companions
their families had known for generations, no desire to learn the new
languages of the Rim or sample the huge variety of life now clamoring off
world. To the priest these changes were inevitable; they were the heralds of
progress.
His only vice was Jaree, a drink distilled on all the Boundary Worlds
and the collection of Transcripts and Sayings of Neas that he had brought
with him from their home-world. Many had overlooked the work of the artist-
priest Neas, some seven centuries ago, but for Kaleevon they had a warm
familiarity. As a child he had seen the great paintings in the Church of
Probabilities, stared in awe at the huge swirling brushstrokes of colour. For a
small child they were a wondrous sight, able to entrance and mystify and
always to instill a sense of the majesty of the Logics of Probability.
As a young man he had sought out the written works of Neas with an
almost zeal. None of his friends had read them, but all had stood as small
children just like him before those paintings. In later years he had heard that
the Church deliberately gave children access to these pictures as they knew
very well the effect they would have. It was even rumoured that Neas himself
had created many of these works precisely to instill devotion to the Laws of
the Logics, to those personified characters who imperceptibly affected the
work of every single Tekton.
The trader broke his reverie.
“You have more Jaree?”
“Yes, yes, of course. And for your friend?”
“Water is fine,” hissed a voice in his head in response.
As the priest returned with the goblets and put them down his thoughts
returned to the object the trader had brought with him.
“So, this box, what is it?”
“I was hoping you would be able to tell me,” replied the trader.
“I thought you know what it is?” replied the priest, a little annoyed now.
All the time the two of them had been talking; Corvall had been
preening the feathers around his shoulders. They covered his torso like a coat
of black chainmail and hung from his arms like pointed hairs. He had also
been studying his surroundings. He noted the volumes of Neas, an unusual
addition to the library of a shadow architect he remarked to himself, perhaps
he would comment on this later. He could tell however that the Tekton did
not like him being in his mind. He put up defenses every time. It was clearly
done with some tact but to Corvall such measures were plain to see.
This was not the audience he would normally be a party too. As a
member of the Council he was feted as distinctly as any royalty, even that of
the fallen Tekton masters. He had heard much talk of their leader, but he
preferred to keep to the shadows for now. The object the trader had found
still held his attention, which was his reason for venturing so far form the
Rim and the safety of the Concordant. Out here not everyone respected his
kind.
“Oh I know what it is,” said the trader after a suitable pause “or rather I
was hoping I was wrong”.
He took out a small knife from his fur-lined jacket and proceeded to
scrape at the underside of the object, finally revealing a maker’s mark.
The priest recognized it immediately.
“The Magister!” he exclaimed.
“Yes, that is what I feared.”
Corvall listened closely to the mind of the priest now, for this had been
his barter with the trader. He would discover the truth in these words.
“They were all lost at the Battle of Havalon!” whispered the priest.
“But what of the time-ships? Did the Magister not have access to
those?” asked the trader.
“They’re a myth,” said the priest. Corvall heard the lie in that and
looked towards the trader, who immediately heard it echoed in his own mind.
“That’s not what I’ve heard. In fact, it’s not what you think either is it
Kaleevon?”
The priest looked warily towards Corvall.
“He’s a Truth-sayer isn’t he?”
“Yes, I suppose he is” said the trader.
“Well, sometimes I think I am the only one who thinks they weren’t
really myth.”
Corvall heard the lie in that too. He wanted to push aside the mental
barriers and just rip out the truth, like a worm from his head, but that was not
his bargain.
“There are no Qube-Makers. Do you think we would have struggled to
bring all of our Qubes to this accursed place if that was not so?” continued
the priest.
Now Corvall could tell he was speaking the truth. The trader would not
like this so he remained quiet.
“Then you think this mark is a forgery?” said the trader.
The priest knew that this particular mark was virtually impossible to
copy, embedded the way it was in an object. That meant that this was truly
the work of the Magister. That in turn meant that this had to be a Qube-
Maker.
“If I recite the words of greeting, what will you give me?” asked the
priest.
Corvall watched as a series of images, of fantasies swept across the
mind of the priest in anticipation.
“With this your Lord could create an army guided by the strategies of
new Qubes, you could step once more upon your world with that power.
Perhaps you should ask me what price I want for this Qube-Maker. If there is
price enough that is.” replied the trader.
The priest thought for a moment. The trader was correct. He thought of
the future this could bring, how he could be raised to Master himself.
“Yes,” whispered Corvall amidst his thoughts, “think of all the power,
the wealth, the luxurious women.”
The priest cast aside the trailing words of Corvall. He arranged his
thoughts carefully, precisely, shuttered, looking to the trader.
“More of the Jaree my friend?”

Leng
The High Lord was not in the habit of trusting the opinion of others. He
watched as the newcomer was led from the chamber of the Oracle to guest
quarters of his own. He could call him to audience and see what this stranger
was doing in Leng, or he could simply allow events to unfold and see what
happened. That would be honouring the Logics of Probability and he was
sure his Qube would be proud of that.
He picked up the pyramid that he had manufactured earlier that day and
pulled a fur-lined robe over the dark bodysuit he wore. He pulled open
drawers and found a thick pair of gloves and then searched the cupboard
below for his thickest boots. It was still winter outside and the warmth of his
chamber often made him forget the extremity of weather that would meet
him.
He had heard a ‘copter arrive earlier that day and wanted to see it for
himself. Only the traders were still able to fly them and none had visited the
monastery in several months. He thought more. Its occupant would no doubt
be in one of the inner courtyards by now, selling his wares. Was there really
anything of interest in the cold outside?
From his robe pocket a voice spoke.
“Highcopter log accessed, transferring flight plan.” The Qube had
assumed its smallest form, folded in and fitted in his pocket.
“Well? What is the point of origin?” demanded the First Lord.
“You do not need to know honoured master of Tekton,” a voice spoke,
this time in his head.
He spun round, one hand already about to activate the Qube’s defense
net. Before him towered one of the Council. A black wet glimmering body
topped by a large beak and even darker eyes. He knew how fast they could
react, how quickly they could read an unprotected mind.
“You come to my chambers uninvited?” asked the First Lord.
“Perhaps you have forgotten,” whispered Corvall.
“Forgotten what?” demanded the First Lord.
“Think back honoured master. Your factories were burning, your
brothers fleeing. You sent a transmission to Corvus, begged us to come to
your aid.”
“Yes, I remember. You did nothing!”
“We have to remain impartial,” whispered Corvall, the last word trailing
in echoes inside the First Lord’s head. “We were waiting, waiting for the one
thing that would free you from the shackles of your architect brothers.”
“And what thing is that?” snarled the First Lord.
“We have found a Qube-Maker noble master.”
The First Lord did not know what to say, such was his shock.
Fortunately, the Council member would never know that.
“They are myth; no one has a Qube-Maker.”
“I have one,” whispered Corvall. “I have one.”
Witch Queen
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Noxaz, Volume 2
Edgar Kerval and co-authors
Compendium of Belial, Volume 1
E.A. Koetting, Kurtis Joseph, Asenath Mason & Edgar Kerval
Compendium of Lucifer, Volume 2
E.A. Koetting, Kurtis Joseph, Edgar Kerval, Bill Duvendack, Asbjörn
Torvol & Frank White
The Complete Works of E.A. Koetting
E.A. Koetting