Greater Feast of Leila Ida Nerissa Bathurst Waddell, died Sept 13, 1932 at Darling Point, Sydney
Greater Feast of Leila Ida Nerissa Bathurst Waddell, died September 13, 1932 at Darling Point, Sydney
Coph Nia, a local body of Ordo Templi Orientis in the valley of Eugene, OR, whose body master is Hermetic Library fellow David Richard Jones sent a sheet with two version of Liber XLIV, The Mass of the Phoenix; one is the familiar version which is a eucharistic ritual for an individual Magician, and the other is a version you may or may not know about, a version once ‘ordained for public service’, which is designed as a public eucharistic ritual that predates the Gnostic Mass, which was first published in The International in March 1918 and written in 1915 during Russian tour of Crowley’s Ragged Ragtime Girls troupe, as a Thelemic ritual designed for public service. This last “was publicly performed, in London, by Crowley, Leila Waddell & possibly Victor Neuburg” in 1913, and you can find it published in Equinox IV 2, p 370, as a footnote to Liber CDXV, Opus Lutetianum or The Paris Working. This handy reference has arrived and is now part of the collection at the Reading Room.
The Progradior Correspondence, Letters by Aleister Crowley, C. S. Jones, & Others, edited and introduced by Keith Richmond, the 2009 hardcover edition from Teitan Press, is part of the collection at the Reading Room.
“The Progradior Correspondence comprises the text of ninety letters and other documents that were exchanged between “Frater Progradior” (that is Aleister Crowley’s Lancashire-born follower Frank Bennett), and members of “the Beast’s” inner circle, including Crowley himself, Charles Stansfeld Jones, Leila Waddell, Leah Hirsig and others.
The correspondence began in 1910 when Bennett wrote to Crowley seeking his advice on the performance of “The Sacred Magic of Abra-Melin the Mage.” It continued through the years of The Equinox, through Crowley’s residence in the United States during the First World War, and on past the heydays of the Abbey of Thelema at Cefalu in the early 1920s. The exchange finally drew to a close in 1926, by which time Crowley had dropped or otherwise lost contact with most of his associates of the preceding decade and a half.
A third of the letters were written by Aleister Crowley. Like the rest of the correspondence, these focus largely on the efforts that he and his followers were making to promote his occult fraternities, the A∴ A∴ and the O.T.O. As such they offer valuable first-hand accounts of the development of Crowley’s creed of Thelema during this important period. The letters are highly revealing on a personal level as well, and provide considerable insight into Crowley’s character and the influence that he had on the people around him. In broader terms they give a fascinating impression of the lives and activities of all those involved.
The Progradior Correspondence is edited by Frank Bennett’s biographer, Keith Richmond, who has also contributed a short Introduction and added footnotes to elucidate some of the more obscure names, words and passages in the letters.” [via]
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Aleister Crowley in the Mouth of Hell: The screenplay never filmed by Carlos Atanes, previously mentioned, is now available.
“Underground filmmaker Carlos Atanes has been trying to make a movie about Aleister Crowley and his Magick for more than ten years. In the beginning of 2007 this was the third and last attempt of the deal with Magick: “Aleister Crowley in the Mouth of Hell”. This script is structured in the reverse order of the Major Arcana of Crowley’s Tarot. The plot describes the mystical trip of Crowley through the Duat, the egyptian underworld, the encounters with significant characters in his real life (people such as Hanni Jaegger, Fernando Pessoa, Leila Waddell, Victor Neuburg, Raoul Loveday) and the confrontation with the demon Choronzon, his old adversary. Here you have the screenplay such as it was written and never filmed.” [via]
Aleister Crowley in the Mouth of Hell by Carlos Atanes is an unfilmed screenplay, that is being made available as a book in March.
“Underground filmmaker Carlos Atanes has been trying to make a movie about Aleister Crowley and his Magick for more than ten years. He started in 2002 shooting two crowleyesque feature length films, Ian Perplexed and Perdurabo. They were both unfinished. On the way he made two non-crowleyesque movies, FAQ and PROXIMA.
In the beginning of 2007 this was the third and last attempt of the deal with Magick: In the Mouth of Hell. Atanes wrote it for two years, until the end of 2008. This script is structured in the reverse order of the Major Arcana of Crowley’s Tarot. The plot describes the mystical trip of Crowley through the Duat, the egyptian underworld, the encounters with significant characters in his real life–people as Hanni Jaegger, Fernando Pessoa, Leila Waddell, Victor Neuburg, Raoul Loveday– and the confrontation with the demon Choronzon, his old adversary.
Atanes’ intention was to shoot it in Spanish with his flagship actor Manuel Solàs playing the mature Crowley. While he was looking for fundings he was shooting another two apparently non-crowleyesque feature movies, Maximum Shame and Gallino, the Chicken System–although this one contains clear references to Sexual Magick.
In the Mouth of Hell was a complex and expensive project, and it was not conceived for everybody but just for curious, informed and/or initiated audiences, which means an added difficulty to attract producers and investors’ interest. After four years of search, finally fundings didn’t arrive and Atanes threw in the towel. He decided to shelve the matter. But he also thought it would be a pity to bury a text that could be interesting for all of those who were waiting for this film for a decade. This way people could watch the film and recall in their heads.
This is the screenplay such as it was written and never filmed.” [via]
“A Tone Testament” is a recent post by Phil Legard, which links to the Leila Waddell memorial site archived at the library [HT Warren Ellis]. That post not only talks about ΘΕΛΗΜΑ A Tone Testament by Leila Waddell from Equinox I 8 but also offers a rendition of the score which you can hear yourself, and a very nicely typeset version is also linked there.