Category Archives: Hakim Bey and Ontological Anarchy

“Are we supposed to feel this shame over our triviality, our mean-spiritedness, our PoMo irony, our consumer frenzy, our hatred of the body and of all nature, our obsession with gadgetry & “information”, our degraded pop culture, our vapid or morbid art & lit, & so on & so on? — or should we defend all this as “freedom” and our “way of life”?”
—Peter Lamborn Wilson, Crisis of Meaning

Quote featured at FREEDOM IS IN PERIL from the Ministry of Information.

Unicursal Freedom is in peril poster

History is a Game

Village HISTORY IS A GAME Poster

This Village HISTORY IS A GAME Poster is helpful propaganda from the Hermetic Library Office of the Ministry of Information … inspired by the signs that can be seen around the Village in The Prisoner and a quote from Hakim Bey’s Moorish Tag Day, a special edition for St Patrick’s Day.

Four Freedoms

Hermetic Library fellow T Polyphilus reviews Four Freedoms: A Novel by John Crowley.

John Crowley Four Freedoms

Heading into my read of an advance review copy of John Crowley’s forthcoming Four Freedoms, I was unsure what to expect. The publisher’s blurb told me that it was a book about “a disabled man…among a crowd of women” at “the height of World War II.” It didn’t seem obvious that this scenario would be a setting suited to the artful exploration of ideas I had enjoyed in the author’s AEgypt cycle, a set of four novels that develop a complexly interwoven text about the human experience of magic and the magic of human experience. I needn’t have worried.

The Four Freedoms of the title are the ones articulated in FDR’s 1941 State of the Union speech: freedom of speech, freedom of worship, freedom from want, freedom from fear. The fact that the novel is divided into four parts suggests a correspondence, but there’s no obvious one-to-one relationship between those parts and the freedoms. They seem more like the four movements of a symphony, and here is the key to the esoteric dimension of Four Freedoms: the Théorie des quatre mouvements et des destinees generales (1808) of Charles Fourier. Crowley is very coy about this element of the novel—unlike his free admission of the historical and scholarly grist for his mill in AEgypt—he never even mentions Fourier by name, either in the novel or in the afterword that discusses his research sources. Still, the unavoidable fact is that Four Freedoms character Pancho Notzing’s “Bestopianism” is Fourierist though and through: a magical ur-socialism founded in “Passionate Series” generating “Harmony” through the satisfaction of dynamic and heterogeneous desires. Pancho himself is even a biographical cipher for Fourier. Where Fourier was the son of a prosperous cloth merchant and had a career as a traveling salesman, Pancho is retiring from a career as a traveling salesman of luxury cloths.

The Theory of Four Movements is Fourier’s earliest and most bewildering exposition of his system. The movements themselves are enumerated only in a footnote and some brief glossary material, where they are given as social, human, animal, and organic—in descending order. The hierarchy of the Fourierist movements perhaps accounts for the sparing but curious use of the first-person plural in the frame of Four Freedoms. The “we” narrating the novel could be the collective identity of the quasi-phalanx of the Van Damme Aero manufacturing plant, a “Temporary Harmonious Zone”—cousin maybe to Hakim Bey’s Temporary Autonomous Zone.

Both the little society of the Ponca City plant and the greater society of WWII America with its socialized command economy are especially worth readers’ attention at a time when the US is confronted with a need to fundamentally reorganize its material and industrial bases. The historical setting of Four Freedoms is bracingly topical while we confront a “great recession” or even “greater depression” that seems bound to displace what “postwar” generations have been taught to consider the American “way of life.” A gasoline ration of four gallons per week? That was a reality of the home front.

I cried once in the course of reading this book. If it has that effect on anyone else, I wouldn’t necessarily expect it to be at the same place: there’s a lot emotional power distributed through many personal stories over the course of the novel. As I have come to expect from Crowley, his narrative voice is sure—both efficient and beautiful—and his characters are compelling. The plot is largely subordinate to the characters, and tends to fan out from them in individual tributaries of memory, told to one another or simply recalled.

Crowley’s AEgypt (especially as read backwards from the final realizations of Endless Things) can be considered a meditation on “neurodiversity”: the idea that there are many necessarily partial and complementary ways of perceiving and understanding the world. Four Freedoms can be read as a corresponding exploration of physical diversity expressed through sex, age, disability, and race. But this is no moralizing, didactic exercise. I recently had a conversation with a literal fellow traveler on an airplane, regarding the importance of storytelling in the learning process. The stories in Four Freedoms can remind us of the kind of learning we all need to do, and that we will do whenever we remember our diverse radical passions. [via]


Occult Origins: Hakim Bey’s Ontological Post-Anarchism

Occult Origins: Hakim Bey’s Ontological Post-Anarchism” (or “Initiating Post-anarchism: Hakim Bey’s Ontological Anarchism” depending on which title you believe) by Joseph Christian Greer, from the “Ontological Anarché: Beyond Materialism and Idealism” issue of Anarchist Developments in Cultural Studies, may be of interest as it touches on the work of Hermetic Library fellow Hakim Bey / Peter Lamborn Wilson, Ontological Anarchy, Chaos Magick, and Zine culture.

“Convention concerning the beginning of Post-anarchist discourse locates its origin in Hakim Bey’s work in the 1980s; however, no commentator has sufficiently analyzed the thoroughly spiritualized anarchism upon which it is based, termed ‘Ontological Anarchism,’ nor the group that promoted it, the Association of Ontological Anarchism. This article draws attention to the ways in which the interface between a starkly postmodern form of esotericism called Chaos Magick and the anarchist tradition produced Ontological Anarchism, and, further, to the implications of this hybridity on the historiography of Post-anarchism.” [via]

Recent Walker Art Center post links to Hakim Bey’s Temporary Autonomous Zone

Recent Walker Art Center post links to Hakim Bey’s Temporary Autonomous Zone at “Freezing Man: Putting a Temporary Autonomous Zone on Ice “.

“Now the Art Shanty Projects have neither the history nor the reach of Burning Man: its attendance is estimated to be over 60,000, while the Art Shanty Projects drew around 2,000 on opening day this year. However, the two events do have some things in common. Both are arguably held in otherwise inhospitable landscapes. Both encourage the idea of encountering art and art experiences outside of the museum and gallery (Burning Man with its Mutant Vehicles and various installations, Art Shanty Projects with their artist-commissioned shanties). And both envision the landscape as a blank canvas or ‘Temporary Autonomous Zone’ of sorts. Even the founder of the Art Shanty Project (and former Bay Area resident), Peter Haakon Thompson, said that he found inspiration in the desolate solace of both the Nevada desert and the frozen lakes of Minnesota. That said, if community is to be understood as the central focus of Burning Man, Art, I would argue, is the focus of the shanties.” [via]

The Drunken Universe

The Drunken Universe: An Anthology of Persian Sufi Poetry, translated with commentary by Peter Lamborn Wilson (aka Hakim Bey) and Nasrollah Pourjavady, the 1999 paperback new edition from Omega Publications, is part of the collection at the Reading Room.

Peter Lamborn Wilson Nasrollah Pourjavady The Drunken Universe from Omega Publications

a few fragments from the introduction

Sufism can be seen to have functioned as a positive and healthy reaction to the overly rational activity of the philosophers and theologians. For the Sufis, the road to spiritual knowledge could never be confined to the process of purely intellectual activity, without the direct, immediate experience of the Heart.

In this book we are concerned with one art that the Sufis made peculiarly their own: poetry. Why should Sufis in general, and Persian Sufis in particular, choose to write poetry?

When they wanted to ‘be themselves’, lovers of the Truth, they needed a language more intense, closer to the center of human awareness than prose. Truth is beautiful, so when one speaks of it, one speaks beautifully. As the lover sings to his beloved, so did the Sufis to theirs. Love itself creates a taste for this language, so that even the prose writers of Sufism scatter verse throughout their works and create poetic prose.

The overwhelming theme of this poetry is the Love relationship between the individual, the lover, and his Beloved, God. What characterizes the Beloved is beauty, loveliness, His self-sufficiency or needlessness.

You must take these poems as mirrors; for you know that a mirror has no form of itself, but rather reflects the face of anyone who looks in it.‘ Ayn al-Qozat Hamadani”

 

The Hermetic Library Reading Room is an imaginary and speculative future reification of the library in the physical world, a place to experience a cabinet of curiosities offering a confabulation of curation, context and community that engages, archives and encourages a living Western Esoteric Tradition. If you would like to contribute to the Hermetic Library Reading Room, consider supporting the library or contact the librarian.

The Drunken Universe

Hermetic Library fellow T Polyphilus reviews The Drunken Universe: An Anthology of Persian Sufi Poetry by Peter Lamborn Wilson (also known as Hakim Bey):

Peter Lamborn Wilson's The Drunken Universe

 

The selections in this volume are terrific and the translations are lucid. The commentary is fairly restrained—much more could be written about any of the poems—and readers without much familiarity with Islam will probably miss many allusions. The appended “bio-bibliographies” of poets are succinct and helpful. The one genuinely bad thing about the book is the calligraphic font in which all the poems are set; it makes reading them more difficult and distracts from the beauty of the language and ideas. [via]

 

 

The Hermetic Library Reading Room is an imaginary and speculative future reification of the library in the physical world, a place to experience a cabinet of curiosities offering a confabulation of curation, context and community that engages, archives and encourages a living Western Esoteric Tradition. If you would like to contribute to the Hermetic Library Reading Room, consider supporting the library or contact the librarian.