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Alan Moore’s Another Suburban Romance

Hermetic Library Fellow T Polyphilus reviews Alan Moore’s Another Suburban Romance by Alan Moore, illustrated by Juan Jose Ryp.

Moore Alan Moore's Another Suburban Romance

This book contains more black-and-white comics adaptations from Alan Moore’s non-comics oeuvre, in the vein of his Magic Words. This time, the three components are all parts of a single (though rather discontinuous) performance piece, and all of the art is by Juan Jose Ryp. 

The first segment “Judy Switched Off the TV” is a little ho-hum. I think I would have enjoyed either the text or the illustrations better if they had not been together, simply because the pictures were such a literal translation of the words. Either one would be surreal, but in combination they seemed mechanical.

The second and longest portion “Old Gangsters Never Die” has more substance, but the sense of the pictures being completely at the service of the words is still there. This failing is of course ironic, since talented comics writer Moore’s writing for comics generally avoids this particular fault.

Moore himself is depicted as the central character of the final episode “Another Suburban Romance.” In this case, the text is sufficiently sparse, and the creative inclusion of Moore’s portraits is helpfully destabilizing, so that the art feels much more rewarding. All of the illustrations in this section are full-page panels or two-page spreads, which allow Ryp’s maniacal level of detail to be shown to full advantage.

Alan Moore’s Magic Words

Hermetic Library Fellow T Polyphilus reviews Alan Moore’s Magic Words by Alan Moore, illustrated by Juan Jose Ryp, with introduction (in the deluxe edition) by Warren Ellis.

Moore Alan Moore's Magic Words

Magic Words is a short anthology of Alan Moore’s song lyrics and brief poetry, adapted for comics by an able assortment of artists. Unlike Moore’s arm’s-length relationship to the cinematic transformations of his work, he is credited here as a “consulting editor.” 

This project bears comparison to the adaptation of Moore’s Light of Thy Countenance, which I have read previously. The production values are lower here (only black and white for the interior art), but despite the variable quality of the individual pieces in Magic Words, the best of them certainly surpass Light of Thy Countenance in exploiting the comics medium. 

In particular, the illustrations for “14.2.99” add a further layer of meaning to the text that is still sympathetic with it. On the downside, the art on the title page of that piece (which appears similarly on the inside back cover) was evidently drawn as a 2-page landscape spread, but has been rotated 90° to fit onto a single page, losing the orientation and confusing the rich detail of Juan Jose Ryp’s fine portrait of teledildonic rapture.

The artists here are all clearly sympathetic to Moore’s larger themes and ambitions–and they were probably thrilled to have the opportunity to work with his texts. Illustrators Vicente Cifuentes and Alfredo Torres bring into play the Moon & Serpent motif that is central to Moore’s magical cultus, even while adapting texts that don’t specify it. The lead item, Jacen Burrow’s rendition of “The Hair of the Snake that Bit Me,” features it by necessity.

The book concludes with what amounts to a set of liner notes and an audio discography. Besides documenting Moore’s musical and performing history, this article provides some broad outlines of his claimed magical attainment: Neophyte to Magus in a six-year period concluding on April 11, 2002.

The aggregate result may be trivial for a casual reader, but it is very engaging for someone familiar with the esoteric elements of Moore’s work.

Painted Black

Hermetic Library Fellow T Polyphilus reviews Painted Black: From Drug Killings to Heavy Metal—The Alarming True Story of How Satanism is Terrorizing Our Communities by Carl A Raschke.

Raschke Painted Black

Author Raschke abuses his academic credentials in this sensationalistic and dishonest presentation about contemporary Satanism, which uses a scholarly format to offer garden-variety paranoia, tying together such disparate phenomena as the Matamoros drug murders, Antonin Artaud’s Theatre of Cruelty, and the aesthetics of heavy metal music. Painted Black provided a great assist to rumor panics in the early 1990s, and to professional scaremongers and scapegoaters then and since. The book is full of false details and baseless claims. In the final section on popular culture, Raschke laughably demonizes innocuous fantasy role-playing gamers. 

The photographic plates are the main reason I keep this book around. Several of them (obtained by the photographer under false pretenses) depict the old Aleister Crowley Oasis temple, where I received my first Thelemic initiations.

In the Tavern of Ruin

Hermetic Library Fellow T Polyphilus reviews In the Tavern of Ruin: Seven Essays on Sufism by Javad Nurbakhsh.

Nurbakhsh In the Tavern of Ruin

Javad Nurbakhsh was the longtime head of one of the schools of the Nimatullahi Sufi order. His organizing was originally based in Iran, but he was instrumental in bringing this order (or tariqa) to the West, both prior to and more so after his emigration following the ascension of Iran’s revolutionary government. When this edition of In the Tavern of Ruin was issued, it included fifteen postal addresses for the order in the US and Europe–although it is not specified whether these were all actual locations of khaniqas, or simply contact addresses. 

“The Tavern of Ruin” is a name for the “spiritual state” that succeeds fana (i.e. annihilation, translated by Nurbakhsh as “self-having-passed-away-in-God”), and is thus parallel to the City of the Pyramids in Thelemic parlance. The book under this title is a collection of five essays, a lecture, and a FAQ. The lecture and the FAQ, being both very general in scope, have a certain amount of redundancy between them. Throughout the collection, which is listed as the first in a numbered series of Nurbakhsh’s works, there are block quotes from past Sufi masters, usually in poetry, at a rate of one or two per page. 

The essay on “Steps of the Path” is a very wide-angle view, more concerned to stress the nature of Sufi attainment than to review the details of the process. By contrast, the “Sama” essay, regarding the Sufi’s mystical experience of music as a specific practice, is quite technical and prescriptive. Another piece of the latter type is “The Rules and Manners of the Khaniqah,” which concerns itself with the governance and customs of the residential facilities (or profess-houses) of the Nimatullahi Order. I found this piece to be of special interest; it comprehends ethical, ritual, and cultural topics. The final essay of the book is “Master and Disciple,” which provides a distinct Sufi perspective on the traditional mysticism of guru yoga as deployed in many systems, including that of A∴A∴.

In several of the texts in this volume, Nurbakhsh goes out of his way to remonstrate against false Sufis. Despite a genuine ascetic tradition in the history of Sufism, he insists that asceticism is essentially foreign to Sufi work, and that ascetic practices are only prescribed therapeutically for certain aspirants. As an organizer, Nurbakhsh was understandably concerned about fakirs and “those who call themselves Sufis” confusing aspirants and soiling what he saw as an integral tradition. The non-Nimatullahi reader may take some of these statements with a grain of salt, however.

Sorcerers

Hermetic Library Fellow T Polyphilus reviews Sorcerers by Jacob Needleman.

Needleman Sorcerers

Author Needleman is not known for his fiction, but rather his popularizing efforts on religion and philosophy, as well as academic work in the same fields. Sorcerers was his first novel, and the substance would mark it as young adult literature–a short, digestible coming-of-age story about a 15-year-old protagonist–but the packaging seems to be directed to an adult audience. The story is concerned with magic of at least three kinds: the stage magic of the illusionist’s craft, the magic of supernatural power, and the magic of spiritual realization. 

There is certainly an autobiographical component: Needleman has put his central character Elliot Appleman in the 1950s Philadelphia where the author himself grew up, but the supernatural elements of the story suggest that it is quite fictional. Thaumaturgical characters with names like Irene Angel and Max Falkoner lend it the sense of allegorical fable, which the naturalistic setting helps to ameliorate. 

Needleman’s works are often informed by his embrace of the teachings originating with G. I. Gurdjieff, and that seems to be the case here as well. In particular, the lessons that Elliot receives from Max are concerned with using disciplined bodily movement to break free of psychic automatism, and the ethic emphasized is one of conscience and awakening. But the presentation of these ideas is free of sectarian baggage, and the same story might be read as a Thelemic parable, with a focus on gradual initiation and True Will.

The narrative highlights of Sorcerers are distinctly initiatory in character. There is a quite affective (and effective!) ceremony of Elliot’s induction into the Sorcerer’s Apprentices club for teenage stage magicians. His private instruction from the adult magicians Blake and Falkoner is also a combination of transformative ritual and spiritual filiation. The climax and denouement in the book’s fourth part could be read as a single event in which various characters are undergoing different initiations peculiar to their own grades. 

Unusually, but not inappropriately, the story ends with a benediction on the reader.

The King in the Golden Mask

Hermetic Library Fellow T Polyphilus reviews The King in the Golden Mask by Marcel Schwob, translated and afterword by Kit Schluter.

Schwob Schluter The King in the Golden Mask

The Wakefield Press edition of The King in the Golden Mask is the first complete English translation of this 1892 collection of short stories in French by Marcel Schwob. Translator Kit Schluter provides an afterword which positions the book in Schwob’s oeuvre and traces the author’s impressive subsequent influence on aesthetic movements and literary writers around the world. Each story is dedicated to one of Schwob’s contemporaries, a range of figures including Anatole France and Oscar Wilde.

The twenty-one stories are all vivid and well-suited to our short 21st-century attention spans. They generally begin in media res and often conclude without much plot resolution, so that they tend to fall towards the vignette within the spectrum of forms. Settings are mostly historical, and the language is often opaquely archaic, an effect that Schluter has been at some effort to sustain. Principal characters range among “lepers, embalming women, eunuchs, murderers, demoniacs, and pirates” and others (3). As Schwob avers in his foreword, the mask is a recurrent (if not ubiquitous) trope among the stories, and he intimates a sort of Derridean trace unifying the superficially fragmented book.

Favorites for me included the eschatological “Terrestrial Fire,” the medieval documentation of “The Sabbat at Mofflaines,” and the science-fictional “Talking Machine.”