Tag Archives: narrative

Once and Future Myths

Once and Future Myths: The Power of Ancient Stories in Modern Times by Phil Cousineau, foreword by Stephen Larsen, a 2001 hardcover from Conari Press, is part of the collection at the Reading Room.

Phil Cousineau Once and Future Myths from Conari Press

Once and Future Myths will take you on a fascinating journey through time. Bestselling author Phil Cousineau weaves historical information, narratives about the arts, and his own personal stories into a compelling look at how, consciously and unconsciously, the power of myth affects every aspect of our lives.” — back cover

Ritual film:Vibrations on the analogue

Ritual film:Vibrations on the analogue from doomtube on Vimeo.


This video was featured recently in a late night aside, but doomtube added it, and in better HD quality this time as well, to the Hermetic Library video pool. So, here it is again.

“‘There is an overarching theme of decay, physically, in that the digital video is often degraded by computer compression and Analogue recording.’

My films explore having the ‘broken’ thought patterns of the mental health condition termed Schizoaffective Disorder, which I was diagnosed with in 2002. No explicit references are made to this condition within the films, but the sense of unease (and unreality) which the condition brings about is examined. Through the breakdown and disintegration of the images and the erratic illogical narrative of the films, the condition is studied from a personal point of view.

‘We fear the dark because anything could be hiding in it’

This film draws on Esoteric, Occult and Mystic ceremonial Magick practices. Thelemic Rituals are evoked in a garish fractured pulsating explosion of sputum in which the viewers take part.

The film is a Hymn to Pan.” [via]


The Hermetic Library video pool is a scavenger hunt for video from a living Western Esoteric Tradition. If you would like to submit your work for consideration, head over to the Hermetic Library video pool or contact the librarian.

ritual film: Vibrations On The Analogue


ritual film: Vibrations On The Analogue is a Phil Beeken film from doomtube [also]

“‘There is an overarching theme of decay, physically, in that the digital video is often degraded by computer compression and Analogue recording.’

My films explore having the ‘broken’ thought patterns of the mental health condition termed Schizoaffective Disorder, which I was diagnosed with in 2002. No explicit references are made to this condition within the films, but the sense of unease (and unreality) which the condition brings about is examined. Through the breakdown and disintegration of the images and the erratic illogical narrative of the films, the condition is studied from a personal point of view.

‘We fear the dark because anything could be hiding in it’

This film draws on Esoteric, Occult and Mystic ceremonial Magick practices. Thelemic Rituals are evoked in a garish fractured pulsating explosion of sputum in which the viewers take part.

The film is a Hymn to Pan.” [via]

Conan the Bold

Hermetic Library fellow T Polyphilus reviews Conan The Bold by John Maddox Roberts from Tor Fantasy:

John Maddox Roberts' Conan the Bold from Tor Fantasy


Robert E. Howard’s Conan the Cimmerian was not often motivated by vengeance, but many of the other authors who have offered stories about that character have decided that a revenge plotline is the best way to get him his due share of violent deeds. Perhaps such writing is under the influence of cinematic revenge drama tropes. Certainly, both the 1982 Conan the Barbarian film and the otherwise quite different 2011 movie of the same title ground Conan’s quests in revenge for the murder of his family and the violent destruction of his home village. The novel Conan the Bold by John Maddox Roberts offers a similar narrative.

In this case, we fortunately avoid the non-REH and now-cliche murder of Conan’s own parents. Instead, we get a sense of his barbarian honor in championing revenge on behalf of a Cimmerian family and village where he was a guest (albeit one with a prospect of marrying into kinship). For an extra helping of vengeance, Conan’s principal companion for most of the book has her own parallel revenge motive that draws the two of them into collaboration. Much of the story is suspended around set piece battles, which suggest a cinematic imagination as much as the revenge plotline does.

Conan is very young in this book, and a little wanting in the sense of humor that Howard gave him, but that so few later writers have managed to keep. His dour determination is quite consistent. After liberating the captives of some slavers, he is told, “We do not know how to thank you.” And then, He shrugged. “I am here because there are some men I must kill.” He turned and walked away (229).

Given how early it is set in Conan’s career, this novel is still an awkward fit in the loose continuity established by Howard’s stories, let alone any more tangled one that might account for the contributions of later authors. It references the sack of Venarium, but has Conan leaving Cimmeria for the first time on a journey that takes him as far as southern Shem.

The diction of the text is neither jarringly modern nor affectedly antique, and the descriptions of sorcery are in keeping with the better efforts of various Conan writers. One might object, however, to such a youthful Conan seeming to have an informed aversion to wizardry, which he has hardly yet had the chance to experience. Roberts does succeed rather admirably at evoking the sense of deep layers of civilization and barbarism that Howard cultivated for his Hyborian setting, without a lot of name-dropping “lore.” The novel’s conclusion has a minimum of denouement, but it is well-crafted for all that. [via]



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My Right Foot, or the Potentially Awkward Issue of Inappropriately Adoring Body Parts

There has been a bunch of activity around the notion of a Queer Gnostic Mass lately. The notion seems to be that the Gnostic Mass is not currently LGBT friendly because of particular policies, but that it should be. There is a book, Priest/ess: In Advocacy of Queer Gnostic Mass by Michael Effertz, that has been privately published and distributed. There was a review of the book by Hermetic Library fellow T Polyphilus. And, there was at least one widely mentioned post attempting a rebuttal to T Polyphilus’ review.

As an aside, I have to point out there’s always something. There seems to be some kind of law of conservation of energy at work around Ordo Templi Orientis. What I mean is that I’ve observed that there seems to be a constant background noise of complaint that remains constant no matter what actual rational issues may exist. There are for every issue that comes up, and every side of those issues, a mob of people who seem determined to get attention and validation from taking particular sides in any conflict they find, and seem to have little actual interest in the issues. Around any authentic issue there seems to be a busy buzz of annoying flies that actually ends up drowning out that issue with other agendas. So, as much as possible, I explicitly refuse to entertain or validate the meaningless constant background distraction from this issue with any more notice than this notice that I take no notice of the noise. (One diabolical beauty, of many, I’ve observed of the law of complaint conservation in action is that those buzzing will take refusal to entertain them as rejection of the core issue, because, of course, it’s all about them and their agenda, and not the actual issue; pro and con doesn’t matter for or to them either. The actual issue is just the delivery mechanism for the steamy, stinky payload of their pathological need for validation around which they can happily buzz angrily biting one and all.) And with that, hopefully, I’ve sent those people off on a spiraling tizzy so the rest of us can talk like adults.

Instead, I hope to focus on considering, in solidarity, what I do hear as actual and authentic dissent on this particular issue from LGBT members of the Order and body of the EGC, and try to be an ally to them. The thing about dissent is that it is difficult to hear, but that difficulty is often in direct proportion to the need to hear it. The thing about oppression is that it so often falls to the oppressed to educate the oppressors. The place of an ally and friend is to help create understanding and raise attention for those directly affected. I think I hear something authentic from my LGBT brothers and sisters, and have heard it enough that I think there must be something important there, though it may be hard and may require some more effort to hear. That the LGBT brothers and sisters are speaking out suggests that those of us who are not should redouble our effort to listen to their story.

What I hear is that LGBT brothers and sisters are feeling they are being treated unfairly and unequally within the Order generally because they specifically do not feel they have equal opportunity to take part in roles within the celebration of the Gnostic Mass that relate to their own lives. I hear that they want to take active part in the ritual, in a way that speaks to them, but feel that they cannot and moreover that they are not being heard.

With that said, I’m really only an ally here, or at least attempting to be one. I am particularly unqualified to make any definitive statements one way or the other, and am not a direct voice on this specific issue. On the one hand, I do not identify as queer or gay, and so I am not a member of the group who might legitimately claim to be affected by the issue, except that, in solidarity and community, to harm one is to harm us all. I am also not clergy in Ecclesia Gnostica Catholica, though I have been active in other roles in celebration of the Gnostic Mass. Nor am I part of the government or any governing body (than my own self, of course) of Ordo Templi Orientis. I am also not privy to the Supreme Secret of the Sovereign Sanctuary (though, let’s be honest, like everyone on born on this planet, and their dog, I do have some suspicions about which I’ll hold my tongue).

But, hey, I’ve got a blog, and some thoughts … and my aunt has a barn, so maybe I’ll put on a show! But, seriously, that’s all this post is: just some thoughts, that people can take or leave, consider or not. I’m just another student of the Mysteries recording my own current thoughts at this place and time.

Basically, this is an ideal opportunity to make a misstep by which I can alienate absolutely everyone involved by sticking my foot in my mouth about the issue, or, you know, something even more entertainingly anatomically awkward. Well … yay, and tally ho, I say! Once more into the breach! YMMV. Do not taunt Happy Fun Ball.


The Complaint

The issue is that, for public celebrations of the Gnostic Mass, the officers enacting the role of Priest and Priestess must be gender appropriate. The Priest must be of male gender and the Priestess must be of the female gender. For the purpose of this, a public celebration is any where non-initiates are present. For any celebration using the script of the Gnostic Mass which is gender-bent, or otherwise changed, it must not be public and moreover cannot be called a Gnostic Mass in public announcements.

The current policy prohibits certain kinds of participation. A person whose gender is male, whether queer or not, cannot enact the role of Priestess in a public celebration of the Gnostic Mass and a person whose gender is female, whether queer or not, cannot enact the role of Priest. Someone who is sexually male or female, but is gender identified as something else, however, can enact the role appropriate to their gender. The policy is about gender appropriate officers in the role of Priest and Priestess.

I think it is important to now introduce a distinction between what I’d call a “gender bent mass” and what I would understand to be an actual “Queer Gnostic Mass” but I think these two are getting as conflated as are gender and sexuality. To be clear, I will try to keep the term “gender bent mass” for a celebration of the rubric of the Gnostic Mass by officers in these roles which do not match their gender. I will also try to keep the term “Queer Gnostic Mass” for something which intends to be publicly celebrated with queer officers in roles and celebrates some, as yet unknown, mystery and symbolism of queer sexuality.

Thus, I suspect that there is already a serious confusion in the complaint as I’ve heard it because it conflates gender and sexuality, and conflates “gender bent mass” and “Queer Gnostic Mass”. But, I think there is something being talked about that reveals important things about the nature of the Gnostic Mass relevant to the discussion.

But, this specificity about gender for the roles of the Priest and Priestess means that for a public celebration of the Gnostic Mass, a queer male cannot act as Priestess and a queer Female cannot act as Priest. And, if one were not able to identify with one or the other in the gender binary, then one would not be able to be either.

The Gnostic Mass

The Gnostic Mass, which is the the central ceremony for public and private celebration of Ecclesia Gnostica Catholica, which E.G.C. is in turn the ecclesiastical aspect of Ordo Templi Orientis, is a eucharistic ritual written by Aleister Crowley in 1913 while in Moscow, Russia (interestingly this was on “The Ragged Ragtime Girls” music and dance theatrical tour). The ritual includes a great number of symbolic and structural influences, but it serves a bold and ambitious purpose:

“In composing Liber XV, Crowley attempted to uncover the hidden Gnostic tradition concealed within the ceremony of the Mass, to liberate it from bondage to the Scholastic theories and dogmas of Christian theology, and to demonstrate the fundamental continuity between this ancient tradition of Wisdom and the modern revelations and liberating philosophy of Thelema.” — T Apiryon [via]

Additionally, the ritual, while being esoteric in nature was also to be precisely specific to Nature:

“I resolved that my Ritual should celebrate the sublimity of the operation of universal forces without introducing disputable metaphysical theories. I would neither make nor imply any statement about nature which would not be endorsed by the most materialistic man of science. On the surface this may sound difficult; but in practice I found it perfectly simple to combine the most rigidly rational conceptions of phenomena with the most exalted and enthusiastic celebration of their sublimity.” — Aleister Crowley [via]

The Secret

There is a great deal of writing about the Gnostic Mass and various aspects of the rite, which is understandable since it has such a central place for EGC and OTO, and one can research much of that at the Hermetic Library. But, what should be clear is that the Gnostic Mass has a purpose in existing in a particular way, and in presenting certain symbols intended to reveal particular ideas. One of these ideas is the IX° secret contained in the system of the OTO:

“Liber XV, the Gnostic Mass, is the central public and private ritual of the OTO and EGC, being itself a IX° operation. All of the secrets of the Order are contained within it, in symbol and ceremony.” — Fr V.I.T.R.O.L. [via]

While the secrets of the Order are contained in this ritual, they are at least veiled to some extent in the rite. The secret is enacted symbolically within the ritual, when it is celebrated properly. Theories about this IX° secret are like assholes, but that’s actually a different degree and, at any rate, the secret is above my pay grade. I’ve been privately assured by at least one person I believe to be in a position to know that, in fact, not all the material is out there in spite of how much is that has been revealed. However, I also noted the curiousity that, in his extensive biography about Aleister Crowley, Perdurabo, Richard Kaczynski points out that Crowley’s own understanding of the secret held by OTO continued to evolve as he experimented with it, even after the time when his scholarly and instructional libri about the secret were written, to the point that those libri “were obsolete even as they appeared” (Kaczynski, 275). So, anyway, who knows? Who knows and when did they know it? “And who with And how many times.

Anyhow, the point is that there is something there which is being demonstrated by the celebration of the ritual which is of central importance to the EGC and OTO, and the secret that is revealed by the initiatory system.

The EGC Manual

The EGC Manual in use by OTO makes clear in many ways the attention to detail that is given to the proper presentation of the rites so they are “rightly performed with joy & beauty” [Liber AL II 35], especially the Gnostic Mass. Specifically related to this discussion, from the EGC Manual (rev jan 20 ’97):

Section III A 2 a: “A public celebration of the Gnostic Mass is one which is open to members of the pubic; or which is noticed in any official OTO publication under the name “Gnostic Mass”, “Gnostic Catholic Mass” or “Liber XV” or equivalent names. A private celebration of the Gnostic Mass is one at which the individual participants are all initiate members of OTO of at least 0º. Private celebrations of the Gnostic Mass may be held for initiates of higher degrees as well.”

Section III A 2 k: “For public celebrations of the Gnostic Mass, the role of Priest shall be filled by a man, and the role of Priestess shall be filled by a woman.”

So, from these two, if an event is called a Gnostic Mass, even if open to 0°+ only, it would still be public. So, simply calling it a “Mass” or “Gender Mass” or something similar even if publicly announced on a calendar or newsletter would be okay. Also, if not actually announced on an official OTO publication, calling a gender switched Gnostic Mass a “Gnostic Mass” appears to be fine as well. Also, that III A 2 k specifically details gender for public mass celebrations clearly does not prohibit gender bent private celebrations.

My recollection is that there is also a comment somewhere, perhaps in a newer revision, which further clarifies the definition of “man” and “woman” to be something like “living as …” but that may have been something from my Bishop, since I don’t see it in the copy of the manual I have at hand.

The manual specifically states (at III B 1) that modification to the rubric must be approved by the Patriarch, whether for private or public celebration. But, I think, on the topic of a gender bent mass, as a potential change, the permission is implicit without further being sought.

My current reading is that for serious changes to the rubric of Liber XV, one is better off simply writing one’s own eucharistic ritual, and not using more than the structural outline of Liber XV or the text as inspiration and not source material. However, my reading is still that a gender bent private celebration does not reach the level of a “modification” of the rubric, and so, as long as the other issues around performance and how one publicly talks in official publications are followed, gender bent is not just well-contemplated by the manual but completely kosher under the circumstance mentioned.

Also, I suppose, that the Bishop(s) supervising the various participants would have some say as well, in regard to the participation of each individual they supervise. So, that might be a thing.

The Note in the Rubric

There is a note that exists in the rubric, from even the very initial publication of the Gnostic Mass when it appeared in the International, about the officers other than the Priest not taking communion during the ritual:

“The PRIESTESS and other officers never partake of the Sacrament, they being as it were part of the PRIEST himself.” [via]

I find myself coming back to this note often in my thinking about the mass. For me this note makes it absolutely clear that the ritual is a symbolic representation of the work being done within the ceremonial magician, and seems to be a dramatic demonstration of an internal process. If all the roles are part of the Priest then the person enacting the ritual is doing so from the perspective of Priest, and that the role of Priest is in fact an internal aspect of the ritualist. Each role can be seen as an aspect of a single person.

Thus the Priest represents male gender of the ritualist. The Priestess represents the female gender of the ritualist. During the rite, there is an interaction between these two internal genders that takes place. It seems self-evident that these two genders are particular and specific, exist within each person, and are necessary for the ritual to have effect; and that this necessity seems to me to be the reason for the policy around gender bent public presentations of the ceremony. In order to not confuse those attending a public celebration of the Gnostic Mass about the drama being presented, E.G.C. requires the role symbolically representing the male within the Priest is enacted by someone whose gender is male, and the role symbolic of the female within the Priest is enacted by someone whose gender is female. This necessity may also suggest some particularly specific nature to the “sublimity of the operation of universal forces without introducing disputable metaphysical theories.” It seems to me that one element of the symbolism reflects certain natural and scientific facts about the requirements for human reproduction, facts which are necessarily true no matter whether those humans are of any particular gender or sexual orientation. Without the operation of these two gender roles within the ritual and the ritualist, the ritual is not the same, and may, in fact, no longer represent the operation of the secret.

Sexual Polarity from a Male Perspective

In a note about The Saints collect of Liber XV, Helena and Tau Apiryon offer a quote from Hymenaeus Beta, current OHO of OTO:

In his address to the Women’s Conference in 1996 (see The Magical Link, Fall 1997 e.v.), the Patriarch Hymenaeus Beta described the Gnostic Mass as a ‘celebration of the sexual polarities and their cosmic and natural interplay’ from a male perspective, having been written by a man. With regard to the list of Saints, he said, ‘It is a list of the small handful of men and man-gods who, in the opinion of the author of the Mass, understood the divinity of woman. […] Someday, perhaps not soon, but who knows, a woman adept of the Sovereign Sanctuary will manifest the genius to compose a Mass in which the female takes the more active role, and the male the more passive (as with siva and sakti in Hinduism) — in which the Deacon, speaking for the Priestess, can claim communion with the women in history that have perceived the divinity of man.'”

The point here is that the Gnostic Mass is a particular ritual demonstrating particular things from a particular perspective. Other rituals are not only possible but, perhaps, even anticipated, that might offer a different perspective on that ‘cosmic and natural’ sexual polarity.


The Metaphor

I’m going to introduce a metaphor. It’s not perfect, but for my purpose it seems useful even so. If all the roles in the Gnostic Mass are “parts of the priest” then one might talk metaphorically about the roles as specific parts. One might talk about the Gnostic Mass as the Left Hand adoring the Right Hand. If one were left handed, one might want to use the Right Hand to adore the Left Hand, or the Right Hand to adore another Right Hand. But, the actual story of the Gnostic Mass is that the Left Hand is adoring the Right Hand. It is certainly possible to write and celebrate a ritual in which the Right Hand adores the Left, or the Right adores the Right, or even the Left adores the Left; but, that isn’t the same story. These changes change the narrative into something else, to varying degrees into a different story.

Now, it may be that in casting the roles in the story of Left Hand adores Right Hand, that the person cast does not for some reason have use of their Left Hand. For example, in the case of Christy Brown, dramatized in the movie My Left Foot, whose only controllable limb was his left foot, it might not be possible. (Gadzooks, but I can already hear the peanut gallery shouting “Are you saying gay people are disabled?!”) In less extreme cases, one might find it interesting to use one’s Right Hand in place of the Left Hand as an experiment in casting against character, or any number of other reasons one might make various modifications to the presentation of the story Left Hand adores Right Hand.

But, the important thing in telling the story Left Hand adores Right Hand is that the narrative not be modified so much that the message is lost. One might put on a performance where a Right Hand is used in the role of Left Hand, but the audience might get confused if the poster didn’t make clear that the performance was intended to be experimental, or they may assume that the story is actually Right Hand adores Right Hand instead, and misunderstand completely.

Moreover, one could write rituals where the Left Foot adores the Right Hand, and so forth, where one specifically means that the Left Foot adores Right Hand, but how does one tell the difference between the ritual Left Foot adores Right Hand from the ritual of Left Hand adores Right Hand where Left Foot is used in the place of Left Hand for some practical reason? The audience is likely to be confused, especially if they are not savvy to the original story, and, really, since the original story is a secret, that’s most people; but also for the person who wanders off the street, and has heard nothing about the ritual at all, there must be a lot of potential of confusion and then consternation at the obfuscation of the intended narrative.

Another Gnostic Mass

It seems like there should be a story about the ‘cosmic and natural’ sexual polarity from other perspectives, and I’m not sure why no one is writing it. Maybe there is, as yet, no one within the Sovereign Sanctuary able or inspired to do so. But that is, again, different than a Queer Gnostic Mass.

For a Female Gnostic Mass, one “in which the female takes the more active role, and the male the more passive […] in which the Deacon, speaking for the Priestess, can claim communion with the women in history that have perceived the divinity of man,” I have found myself idly wondering if such a thing might needs must be written by a queer female writing about the perceived divinity of man from a female perspective, just as Aleister Crowley wrote the ceremony about perceived divinity of woman from a male perspective. For a truly Queer Gnostic Mass, maybe such as thing could be written by a straight member of the Sovereign Sanctuary … or maybe I’m taking my perception of the creative formula a bit too far and strictly, but it amuses me to consider it natheless.

Perhaps there needs to be more LGBT membership in the Sovereign Sanctuary, because from my almost completely limited perspective that body, about which I know very little except for hearsay, seems to be sorely lacking in diversity beyond white hetero-normative committed couples. Does that body match the formula of the Gnostic Mass by chance or design? Is that demographic the chicken or the egg for the issue of LGBT feelings of being treated unfairly? I don’t know about this beyond idle speculation. “Shove me in the shallow waters Before I get too deep.”

I’m not sure what the magical and natural formulae are that would be represented in Queer rituals because there is a specific formula involved in the existing Gnostic Mass, which, while veiled, seems pretty clearly demonstrated. After all, perhaps quite specifically, “I confess one Baptism of Wisdom whereby we accomplish the Miracle of incarnation” in the Creed. If not told well or if the ritual were modified that formula might be obscured beyond recognition. If the Gnostic Mass is a ritual that has a particular narrative built around a central secret, then changing the narrative might start with a different central secret. It seems the narrative should be informed by the source, not the other way around. So, the first thing that might happen is the central secret needs to be interrogated by someone (that knows it, who is a cunning linguist, and is also a prodigious prestidigitator) to figure out if another narrative can be told. And, if there are other related but different Queer formulae, whether different narratives can be told about those different central secrets well enough within the structure of the Order. Or, maybe some of this has been worked by those in a particular degree outside the general plan of the order, but I could only speculate on that.

“… recent researches into the mysteries of the IX° have compelled me to add an XI°, to illustrate a scientific idea which has been evolved by the results of recent experiments.” — Aleister Crowley [via]

A matrix of ritual might be possible which would offer an array of rites to satisfy anyone’s curiousity or general proclivities. But, even a drama queen like Aleister Crowley only wrote the one ritual from the male perspective on the perception of female divinity, and kept it as the single core ritual of OTO. So, it may simply be that there is only that one narrative possible within the structure of OTO and from the secret at the core of the Sovereign Sanctuary; because to change these too much would change the story into something else, or would be to make up a story that is completely fictional and not based on a real secret held by the Order.

Honestly, after so much time no one’s come up with anything, I’m not holding out a lot of hope. If Aleister Crowley didn’t, and no one that’s raised the issue has since, come up with something … but, like so many things, raising an issue and hoping that someone else will solve it is the exact opposite of the fact that raising an issue is really an opportunity to self-volunteer to write original eucharistic Queer ritual rubrics and organize public celebrations of them, and eventually why not a Queer ritual-a-thon? Even if an official Queer Gnostic Mass isn’t available, there’s plenty that could be done. It may not be possible until there is enough LGBT presence in the Sovereign Sanctuary, assuming that there isn’t already, for there to be someone able to make an actual Queer Gnostic Mass, as opposed to just a Gnostic Mass told differently, possible, so perhaps that just means that those who identify as LGBT should redouble effort to advance in the Order so they can seduce the project to fruition by building a firm foundation first.

In other words, there may be ways to celebrate the ritual of Left Hand adores Right Hand using one’s right hand in the role of the left, for practical reasons, though it may appear awkward; but maybe it just ruins the narrative to use one’s left foot and that’s not even to mention using one’s right foot in the role. Further, when the My Left Hand poster advertising the event says the ritual is one thing, to tell an entirely different story of My Right Foot seems definitely not correct, and would be right out of order.


[Originally posted over on John Griogair Bell’s Blog at My Right Foot, or the Potentially Awkward Issue of Inappropriately Adoring Body Parts]

The ‘Lord’s Supper’ sans Jesus

Hermetic Library fellow T Polyphilus discusses the notion of Thelemic Eucharist in a new post on his blog at “The ‘Lord’s Supper’ sans Jesus“.

“Sometimes, when I describe the Gnostic Mass to people, they are confused by the fact that we don’t ground our Eucharistic magick in some sort of pseudo-historical institution narrative regarding a Jesus-type savior. And they are certainly puzzled by what value ‘eating the body and drinking the blood of God’ could have for someone who both rejects any sort of conventional piety and spurns the entire enterprise of ‘theology.'” [via]

De Profundis

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?