Tag Archives: American – General

Mutants and Mystics

Hermetic Library Fellow T Polyphilus reviews Mutants and Mystics: Science Fiction, Superhero Comics, and the Paranormal [Amazon, Bookshop, Publisher, Local Library] by Jeffrey J Kripal.

Kripal Mutants and Mystics

This latest book from religion scholar Jeffrey Kripal treats the mutual generation of science fiction and paranormal mysticism, primarily under the figure of the costumed superhero of comic books. He explores the roots of late 20th-century popular culture in elite culture extending back into the 19th century, and caps it off with the case studies of comics artist Barry Windsor-Smith, science fiction author Phillip K. Dick, and “contactee” metaphysical speculator Whitley Streiber as instances of “supermodern gnosis” (255).

The body of the book is organized around a sequence of seven “mythemes” that constitute a “super-story” (Divinization/Demonization, Orientation, Alienation, Radiation, Realization, and Authorization) common to the culture of the paranormal that Kripal is presenting here. He manages to address these in a roughly chronological sequence reflecting their rising to prominence in literature and culture. Left unstated is the possibility that they represent an initiatic sequence which might transpire on the individual level in the same complex, feedback-ridden way that he shows it on the larger social scale. 

Mutants and Mystics is physically gorgeous. It nicely bound on stunningly heavy stock, with a tough, non-gloss dust jacket. There are numerous full-page color illustrations throughout, mostly reproduced from the author’s private collection of comics and science fiction. The page designs include multicolor text and very appropriate fonts that are nevertheless unusual in academic publishing.

Throughout the book there is a sense of humor, and Kripal makes great efforts to suspend judgment about the “reality” of the paranormal narratives with which he deals, although he admits frankly the points at which those efforts weaken. He is a skeptical scholar, but he is also a sympathetic mystic who has had his own confessed paranormal experiences, and who can be swayed by apparent signs and portents. He admits to confusion about the nature of this or that manifestation, but insists on the validity of a shared phenomenological core. Sounding like a character in the pages of a comic himself, he insists “The damned thing is radioactive” (8)! 

The book is fun, thought-provoking, and at 350 pages, over all too soon.

green of the honeyed muse, green of the rough caress of ritual, green undaunted by reason or delirium, green of jealous joy, green of the secret holy violence of the thyrsos, green of the sacred iridescence of the dance

Anne Carson and Euripides, Bakkhai [Amazon, Bookshop, Publisher, Local Library]

Hermetic quote Carson Euripides Bakkhai green honeyed muse rough caress ritual undaunted reason delirium jealous joy secret violence thyrsos sacred iridescence dance

New and Collected Poems 1964-2006

Hermetic Library Fellow T Polyphilus reviews New and Collected Poems 1964-2006 [Amazon, Bookshop, Publisher, Local Library] by Ishmael Reed.

Reed New and Collected Poems 1964-2006

When I was in high school, a critical aside comparing Shea and Wilson’s Illuminatus to Ishmael Reed’s novel Mumbo Jumbo brought me haphazardly to a public library copy of Reed’s first poetry collection Conjure, which excited me to the point of photocopying nearly a third of it — after resisting the temptation to steal it outright. For about twenty years thereafter, Reed’s work motivated myriad unrewarded searches on my part among the poetry shelves in used bookshops across the country. In 2006, the volume of Reed’s New and Collected Poems 1964-2006 supplied me with the full contents of Conjure, as well as the interim volumes ChattanoogaA Secretary to the Spirits, and Points of View, and a further collection of poetry more extensive than any two of the earlier books combined. 

Conjure still includes several of my all-time-favorite short poems: “There’s a Whale in my Thigh,” “The Piping Down of God,” and “Dragon’s Blood.” According to the author’s micro-vita appended to this volume, “Beware: Do Not Read This Poem” is also an all-time-favorite of literature instructors. Perhaps the best and most representative poem of this earliest set is the exquisite “I am a Cowboy in the Boat of Ra,” a houngan’s brag rebuking Christian tyranny with a mixture of Wild West and ancient Egyptian imagery.

The later materials continue in the same vein, with a tiny bit less anger and a little more sorrow, but Reed’s sense of humor is undiminished. Although he no longer foregrounds the blazon of his school of Neo HooDooism, his methods and aims seem quite consistent with what came before. In the later work, his awareness of the (already much-realized) possibility that his poems would serve as musical lyrics more often leads Reed to use repetitive chorus forms and traditional structures, but even in the early pieces, there is a vivid aural sensibility that constantly tempts to reader to declaim them aloud for the benefit of their full force. 

Reed insists that his poetry is not theological in its aims, despite its use of various non-Christian and counter-Christian tropes and images: “The key lesson that I do take from Yoruba religion is from the parable in which a traveler finds himself in a strange country, away from his gods, and the only god that he can depend upon is his own mind” (xix). But he makes no such disclaimers regarding politics. A political piece among the more recent work that I found especially striking as an expression of its own time was the 2001 “America United” (362-372). And one that read with eerie irony in the light of current events (police violence in late October 2011) was “Let Oakland Be a City of Civility” from 1999 (341-345).

After the recent poems, the book concludes with an opera libretto Gethsemane Park, and a prose narrative “Snake War” based on a translation of an excerpt from Fungawa’s Igbo Olodumare (The Forest of God). The former is a sort of Godspell-like displacement of gospel events into the modern American city, in which Jesus is not a human hero but a discorporate orisha.

In an untitled verse from 1992, Reed wrote: “Ever get the / Feeling that your past / Is a hunter who knows the / Woods better than you” (327). In fact I do, and this four-decades-plus collection goes a way toward demonstrating why Reed might as well.

Dionysos: My eyes were wide open. He teaches the mysteries personally. Pentheus: What form do these mysteries take? Dionysos: That’s a secret. Not for the uninitiated. Pentheus: And for the initiated, do they do some good? Dionysos: You cannot know that. But it is worth knowing.

Anne Carson and Euripides, Bakkhai [Amazon, Bookshop, Publisher, Local Library]

Hermetic quote Carson Euripides Bakkhai eyes wide open teaches mysteries personally form secret uninitiated do some good cannot know worth knowing