Greater Feast of Bram Stoker, died April 20, 1912 at London, England
Walter C Cambra has sent “The Gallant Ones” which is now in the collection at the Reading Room. This essay explores a possible esoteric and symbolic connection in Bram Stoker’s Dracula between the characters Mina Harker and Quincy Morris starting from the observation that they are the only two characters to be described as “gallant” in the novel.
Dracula: Quite A Card! by Walter C Cambra, a 2012 monograph, which examines Bram Stoker’s Dracula from historical and symbolic frames such as Stoker’s involvement with the Hermetic Order of the Golden Dawn, astrology, kabbalah and tarot (which last suggests correspondences between Dracula as The Devil and Mina Murray as The Empress, and, in part, is inspiration for the title), is part of the collection at the Reading Room.
Aleister Crowley – Revolt of the Magicians: A Novel by Lon Milo DuQuette and James M Bratkowsky, the 2011 softcover edition, is part of the collection at the Reading Room.
“The dawning twentieth century is not big enough for eccentric genius Aleister Crowley. He is an acclaimed poet, chess master, world-class mountaineer, and probably the most passionately liberated man in Victorian London. His real devotion, however, is magic … and the search for his own soul. An infamous fourteenth century Arabic book of magic survives the centuries to spawn the formation of a hidden society of magicians in London. The Order is led by occult scholar MacGregor Mathers and his wife Moina, who claim to be in touch with secret masters that give them ever-increasing magical knowledge and power. For several years the Order grows, drawing on new members from the giants of British commerce, art, and literature. Suddenly, at the height of the Order’s influence, MacGregor and Moina appear to lose contact with the secret masters. They move to Paris and ignore the Order’s plea for more teachings and higher initiations. The London lodge threatens to sever ties with them and make magical contact with the secret masters themselves. Five very famous members lead the revolt:
• the poet William Butler Yeats
• the playwright Maude Gonne
• Bram Stoker, author of Dracula
• Florence Farr, the most acclaimed actress of her day
• and one of the wealthiest women in the world, tea heiress Annie Horniman.
Crowley naively joins the Order at the beginning of the revolt. Blinded by his intense spiritual aspirations, he is not only drawn into the conflict, but unwittingly becomes the catalyst that brings about their destruction.”
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.
Quite a while ago actually, I wandered into a local game shop and happened to start looking through the small press roleplaying games. There were several that struck me as interesting, but one in particular not only struck me but has stuck in my mind. Thinking over the last month or more about ALA’s National Gaming Day, which was today, I found myself thinking about this game once again.
De Profundis is a game created by a Polish designer Michał Oracz, and has been translated to English in two editions. The first edition was from Hogshead Publishing, and is still available through Chaosium. The second edition is available directly from Cubicle 7, as a PDF and print bundle, or many other outlets, such as in a downloadable PDF via DriveThruRPG.
What struck me at first about this game is that it outlines a way to play through correspondence, whether that’s physical snail mail, through email or maybe even in an online forum; and that play progresses not through rolling dice and consulting tables, but rather through the players telling the story of their characters as part of a collective narrative.
“Sometimes when I’m working on the game I enter a strange state of consciousness, as if someone were whispering things in my ear. Have you heard of ‘automatic writing’? You must have. Well, it’s like that. Or almost, because I still need to use my brain. In the next letters, ‘ll describe the game. I wonder what you’ll think. I have this eerie impression that if only I had the right key, and unlocked the right door in my brain, the whole game would just fall out, complete, finished, as though it were already there somewhere, and I just had to peep through the keyhole to see it. I can feel it’s close, but I can’t reach it; I just grab at bits of it and piece them together like parts of a torn photograph. Not everything fits yet, but I know they’re parts of a coherent whole.” — De Profundis
So, the participants in this build a emergent narrative by weaving together their separate personal narratives. The letters develop a story that has a life of its own. And, not only that, but that story then becomes part of the life of the participants.
“So, imagine a tree with many branches, walking on three legs. That’s what De Profundis is like: like a symbol for the three-legged form of Nyarlathotep. It has three parts, rests on three pillars: part one is Letters from the Abyss, part two is Phantasmagoria, and part three is Hermitage. They’re all inextricably interconnected, together forming a whole game.” — De Profundis
These three parts, “Letters from the Abyss”, “Phantasmagoria” and “Hermitage”, are three kinds of psychodrama which are acted out via correspondence, in the field and solo, by the player alone. So, the whole is characterized as different modes of psychodrama. It was when I read the description of the nature of pure psychodrama that this game became stuck in my mind, and if you’ve participated in any group trance work, you’ll recognize this immediately.
“Psychodrama is close to a role-playing game, but without a game master. The players create everything themselves, from their characters to events in the game world. Every participant is a player and a game master at the same time. You don’t need anything to play a psychodrama session: a description of the world, character sheets, rules, a scenario. The players – gathered in a darkened room – simply close their eyes, and one of them describes a place. They all go there in their imagination.” — De Profundis
The primary mode of play is the first, “Letters from the Abyss”, and it is formed by the interwoven letters of those participating. If you aren’t sure what that looks like, just remind yourself by taking a look at the text of Bram Stoker’s Dracula and some of the complete works of Lovecraft.
The other two modes are both more personal and more real than the first, each a kind of escalation of the magical, archetypal and narrative practice, where the game develops a kind of feedback loop into the reality of the participants, and the whole emerges greater than the sum of its parts or the individual participants.
This kind of diceless and personal narrative driven roleplaying reminds me of of many things, but in particular of both Amber and Toon. In Amber, the system developed to roleplay in Roger Zelazney’s stories, dice are not used but rather there is a reliance on narrative. Also, I remember reading the instruction in Toon, a roleplaying game about being cartoon characters, that if a player could explain some way that to do what they want to accomplish, and the more bizarre and convoluted the description, they should be allowed to do so, no matter what the rules might otherwise say.
The creative and narrative nature of this game also suggests to me some of the same foundation as can be found in HipBone Games’ Glass Bead Game which I posted about earlier this week.
A collection of the letters and journals from a complete session might look very much like the text of Dracula or a fully formed Lovecraft tale, but is moreover a kind of magical journal for not just a personal practice but a record of a group trance.
I’ve been exploring a bit of the influence of esoterica on fiction, and visa versa, over at the Cadaver Synod: Esoteric Fiction and Fictional Esoterica. What if, instead of setting the game within the Lovecraftian tales of the Cthulhu Mythos, a bunch of people interested in the Western Esoteric Tradition, including gamers, writers, readers, magicians, Jungians, and who ever else might be both creative and crazy enough to want to join, were to tell each other a strange emerging tale, a shared narrative, using this method, using shared, sequential narratives and perhaps, for recording field and solo modes, personal journal entries. Now that would be interesting!
All that would be needed is a venue, such as a dedicated website or a blog, where correspondence and journals could be posted, a framework for the setting of the story, and a bunch of crazy kids interested in forming a secret psychodrama
cult club … you know, maybe not something to start up smack in the middle of NaNoWriMo, but what about starting that up in the coming New Year?
Trailer for upcoming Spanish film La Herencia Valdemar, a Lovecraftian movie with Bram Stoker and Aleister Crowley as characters, was shown at the Sitges festival.
Trailer for upcoming Spanish film La Herencia Valdemar, a Lovecraftian movie with Bram Stoker and Aleister Crowley as characters, was shown at the Sitges ’09 festival.