Tag Archives: rosaleen norton

Occult figures

There’s even more press for the Windows to the Sacred: An Exploration of the Esoteric art exhibition touring in Australia, which is at the S H Ervin Gallery through September 29th, 2013, and which may be of interest. John MacDonald writes a bit about his impressions of the exhibition and of how these “[a]rtists cast a wicked spell as popular culture embraces all things supernatural, mystical and demonic” over at “Occult figures“.

“‘Do what thou wilt shall be the whole of the law,’ was the personal motto of Aleister Crowley (1875-1947), once known to the headline writers as ‘the Great Beast’ and ‘the Wickedest Man Alive’. It was a philosophy that would endear him to the counterculture of the 1960s and make him a hero for rock stars such as Jimmy Page and Jim Morrison. Perhaps the sealer for Crowley’s second coming was his inclusion on the album cover for Sgt. Pepper’s Lonely Hearts Club Band (1967), at John Lennon’s insistence.

A famous sorcerer such as Crowley has an obvious appeal for a popular culture saturated in stories of witches and vampires, but he was no Harry Potter. Selfish, brutal, addicted to drugs and sexual perversion, Crowley was a terrifying but hugely charismatic individual. Those who fell under his spell often found themselves ruined for life. Today, Crowley probably has more disciples than ever before, but his image has been cleaned up for public consumption. The Great Beast has been transformed into the Great Libertarian.

Like Crowley himself, the study of the occult has become almost respectable, although the price is a high degree of Disneyfication. One of the revelations of Windows to the Sacred at the S.H. Ervin Gallery is the extent to which contemporary occultists have adopted the trappings of popular culture.

It is a sign of the times that such a show could be held at the S. H. Ervin. Not long ago it would have been unthinkable that a gallery operated by the National Trust would host an exhibition of ‘esoteric art’, featuring work by figures such as Crowley, Rosaleen Norton — the so-called ‘witch of Kings Cross’ — and Austin Osman Spare, a notorious British artist devoted to the supernatural.

This doesn’t mean the S. H. Ervin has become a haven for mystics and Satanists. It would be more accurate to say that nowadays those mystics and Satanists are about as controversial as the Australian Watercolour Institute. If the pictures by celebrated figures such as Crowley and Spare have a hermetic feeling, the works of contemporary esoteric artists such as Barry William Hale and Kim Nelson seem to be pitched at a mainstream audience, rather than an elite group of initiates.” [via]

Aleister Crowley and Western Esotericism

Hermetic Library fellow T Polyphilus reviews Aleister Crowley and Western Esotericism, ed. Henrik Bogdan and Martin P Starr, from Oxford University Press:

Henrik Brogdan and Martin P Starr's Aleister Crowley and Western Esotericism from Oxford University Press

 

Oxford University Press has published a groundbreaking collection of academic studies concerning Aleister Crowley and his place in modern intellectual and religious history. The component chapters of Aleister Crowley and Western Esotericism had been written at various points in the last twenty years, and taken together they demonstrate the considerable breadth of relevant subject matter.

The Alex Owen chapter that follows the editors’ introduction is an earlier version of a paper that was eventually incorporated into her constructive monograph The Place of Enchantment, which provides a revisionary perspective on modern occultism. In this version, she seems to be at lesser pains to make Crowley out to be a villain against liberal ethics, but she has the same uninformed regard for his later career, using one or two references to conclude that he was broken and failed after his Algerian operations of 1909. The simple fact is that his most enduring and successful work was done after that: writing Magick in Theory and Practice, reforming O.T.O., designing the Thoth Tarot, and so on.

Marco Pasi provides a valuable primer for academic readers regarding Crowley’s ideas about magic and mysticism, elucidating a tension between the materialist theorizing of Crowley’s early work and the more metaphysical concessions of the fully-initiated Beast. Pasi rightly distinguishes between the Cairo Operation of 1904 and the subsequent attainment of Knowledge and Conversation of the Holy Guardian Angel that Crowley claimed in 1906, observing that the identification of Aiwass as Crowley’s personal genius was a later development. He errs, however, in speculating that the equivalence was formulated as late as the writing of Magick in Theory and Practice in the 1920s. In fact, it is a feature of Crowley’s 1909 vision of the Eighth Aire in The Vision and the Voice.

Volume editor Henrik Bogdan’s contribution is a solid paper that fills a lacuna in the literature on Thelema by pointing out the positive contribution of the Plymouth Brethren dispensationalist doctrine to Crowley’s idea of magical aeons. While acknowledging the contemporaneity of occultist “new age” concepts (contrasted as largely pacifist vis-a-vis the martial Aeon of Horus), Bogdan does neglect to point out the important symbolic grounding of Crowley’s hierohistory in the Golden Dawn Equinox ceremony. (For that in detail, see my web-published essay “Aeons Beyond the Three“.)

Gordan Djurdjevic’s paper presents “Aleister Crowley as Tantric Hero” in a morphological, rather than a genealogical sense, stressing the notion of functional parallel between Thelema and Tantra. He makes a sound point about the confusion over Crowley’s Tantric bona fides originating in the secondary materials of biographers and students, rather than Crowley’s own claims. But he fails to address the younger Crowley’s derision of Tantra (“follies of Vamacharya [debauchery]” in The Equinox), and omits to observe that while the older Beast claimed to have studied “numerous writings on the Tantra,” he conscientiously referred aspirant Kenneth Grant to David Curwen for sounder Tantric instruction than the Prophet of Thelema could supply.

In Richard Kaczynski’s chapter, the heroically thorough Crowley biographer provides a somewhat exhaustive exposition of a specific range of Crowley’s own sources, presenting Crowley as a synthesist of Rosicrucianism, Freemasonry, and phallicist theory of religion. These are certainly the ingredients that most saliently inform the O.T.O., and thus Crowley’s social/institutional legacy, and this chapter amounts first and foremost to a bibliographically-dense essay useful to readers interested in understanding precedents for Crowley’s work with O.T.O.

The Tobias Churton piece on “Aleister Crowley and the Yezidis” is admittedly speculative and conjectural, and terribly sloppy even so. Churton recklessly juggles the historical Crowley with the “‘Aleister Crowley’ of popular imagination,” while his comparisons to Yezidism are nearly all in the subjunctive. The paper goes from bad to worse as Churton provides a long concatenation of mixed-together quotes from Thelemic and Yezidi source material, distinguished from each other only in the endnotes! And then in a big wrapup, he writes like an episode of Ancient Aliens, letting loose a stream of absurd hypotheses in the form of questions (e.g. “Are Yezidis prototypes, or long-lost cousins, of Thelemites? … Was Crowley a Yezidi Prophet?”), and bashfully disdaining to answer them. As an “alternative history” video host might say: “Could these things be true??? The answer is: yes.” But they probably aren’t.

The “Frenzied Beast” paper by Matthew Rogers is excellent, but too short. The author’s conspicuous good looks are absent from the printed page, and the article would have been improved by adding further materials on Crowley’s orientation toward Neoplatonism. In particular, the augoeides doctrine in Crowley’s works should have been given more exposure in connection with the source material in Iamblichus, and there should have been a comparison of “astral travel” in Crowley’s modern occultism with its classical antecedents. Rogers is obviously aware of these features, and if he had known how long it would take this book to get to press, he probably would have expanded the scope of his paper to address them in greater detail.

Martin Starr’s chapter was first written for the prestigious Masonic research journal Ars Quatuor Coronati, and in it he attempts to explain Crowley’s relations with Freemasonry (originally to an audience composed of Masons who jealously assume the priviledged status of the United Grand Lodge of England and the “regular” bodies in its network of recognition). The chapter certainly presents a credible narrative to account for the development of Crowley’s distaste for and derision of Freemasonry. Since its original publication in 1995 however, this paper’s judgment of Crowley’s Masonic standing has received a considered rebuttal from David R. Jones, who also explains some of the technical terminology of Masonic organizing that Starr’s piece takes for granted. The relevant features of Crowley’s American period have been fleshed out in Kaczynski’s Panic in Detroit: The Magician and the Motor City.

The real opinions and motives in the relationship between Aleister Crowley and Arthur Edward Waite are a considerable enigma, and the chapter by Robert A. Gilbert provides as complete a picture of their interactions as one could reasonably expect on the basis of the surviving evidence, which makes for very interesting reading. Unfortunately, the closing paragraphs expose Gilbert’s hostility toward Crowley, offering condemnation in a nonsensical comparison with Waite. Supposedly, Waite left (in his writings?) a real means of attainment to later generations, while Crowley did not. And Gilbert derides the contemporary O.T.O. in terms that have had debatable applicability in earlier decades, but are certainly false now. Or is Gilbert here tipping his hand as an exponent for some survival of Waite’s Christianized “Holy Order of the Golden Dawn”? In the end, the matter is no clearer than the true sentiments of the dead occultists.

In another of the collection’s older papers, Massimo Introvigne offers a few startling errors about Crowley (e.g. claims that Crowley hated his father, that Leah Hirsig was his first Scarlet Woman), but none of them have much bearing on his fascinating central topic of Crowley’s admiration for Joseph Smith and Mormonism. Of the various papers in the volume, this is one of those which touches most directly on a larger theoretical issue of scholarship, in exploring the distinction between religion and magic in the inspiring and organizing of new sects. Sadly, Introvigne simply assumes the “magic” character (by his own definitions) of the revelation of Liber AL vel Legis, without any actual inquiry into or discussion of the Cairo working. In this chapter, Crowley ultimately serves as a hostile witness for the defense in an effort to exonerate Mormonism against accusations of having a magical basis. Not that Crowley was hostile to (his own notion of) Mormonism, but he would have wanted to see it convicted of magick!

In Ronald Hutton’s book The Triumph of the Moon (2000) he provided in one chapter what was at that time the most fair and thorough study of Crowley’s influence on the origins of modern religious witchcraft. His chapter here does not merely rehash that material, but updates it with new findings and perspectives. Unlike Introvigne, Hutton does perceive the properly religious character of Crowley’s 1904 revelation and consequent activities. However, he wants to dismiss the religious dimension of Thelema on the (somewhat justifiable) basis of the magical-rather-than-religious orientation of many latter-day Thelemites. It is an understandable position for him, in defense of his slogan touting Wicca as “the only fully formed religion that England has ever given the world.” (In light of the patently and confessedly religious nature of O.T.O., I would suggest a different gambit to Hutton: The revelation in Cairo to the globe-trotting adventurer Crowley, the German roots of O.T.O., and the subsequent formation of the first durable Thelemic communities outside of Britain indicates that Thelema isn’t so much a product of “England” as it is an inherently intercultural, cosmopolitan synthesis.) As in The Triumph of the Moon, Hutton is here focused on English witchcraft, especially as formulated by Gerald Gardner. He consequently gives no attention to the witcheries of American Jack Parsons and Australian Rosaleen Norton, both strongly influenced by Crowley themselves, and not via Gardner’s work.

The case of Norton is taken up in a study by Keith Richmond, who does her full justice. Adding nothing substantial to the reader’s knowledge of Crowley, Richmond instead illuminates Norton’s regard for and understanding of Crowley. She seems to have been friendlier to Crowley’s work in private than in public, which is understandable, in that she had no need to borrow notoriety!

Hugh Urban’s chapter treats Crowley’s possible influence on L. Ron Hubbard and the Church of Scientology. Urban does some contextual violence to various Crowley quotes from Magick in Theory and Practice, but his readings may be consistent with the way Hubbard approached the material, so for immediate purposes there’s not much point in arguing about them. The chapter’s thesis is the conclusion that any dispassionate observer should reach: Hubbard was influenced by Crowley, but Scientology incorporates so many other elements — some others of which have come to predominate while the ones rooted in magick have faded — that it would be false to simply view it as some sort of crypto-Thelema.

The final chapter, contributed by Asbjørn Dyrendal, is an assessment of Crowley’s influence on two of the seminal organizers of contemporary Satanism: Anton LaVey and Michael Aquino, of the Church of Satan and Temple of Set respectively. Although there is a little confusion of the distinct notions of “black magic” and the “Black Brotherhood” in Crowley’s work, this examination is conducted with great care and accuracy on the whole, pointing out both debts to Crowley and explicit rejections by Satanists of some of his teachings. It is interesting to contrast the Satanists’ criticisms of Crowley with Urban’s appraisals of him, since they come to such different conclusions. (While I differ with their ultimate valuations, I think the Satanists are more accurate here.) Although Dyrendal touches briefly on LaVey’s successor Peter Gilmore, he keeps the discussion very focused on the two Satanist founder figures, and it would have been interesting to bring in some of Don Webb’s outspoken opinions on Crowley, for example (he wrote a short monograph called Aleister Crowley: The Fire and the Force), thus demonstrating Crowley’s direct effects on the enduring Satanist milieu.

With a few minor exceptions, the level of scholarship in this volume is impressive. More than that, the papers tend to be lively and challenging reading. As Wouter Hanegraaff points out in his foreword, the caricature of Crowley as a quasi-medieval Doctor Faustus conceals a figure who is quintessentially modern, and to give the Beast his third dimension places him in the same space that the reader inhabits. [via]

 

 

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Aleister Crowley and Western Esotericism, Part 3 of 3

Hermetic Library fellow T Polyphilus posts the third part of a response to Aleister Crowley and Western Esotericism, ed. Henrik Bogdan and Martin P Starr, from Oxford University Press, over on his blog at “Aleister Crowley and Western Esotericism, Part 3 of 3” which speaks to essays, about Witchcraft, Scientology and Satanism, by Ronald Hutton, Keith Richmond, Hugh Urban and Asbjørn Dyrendal; giving special attention to the chapter by Ronald Hutton.

“Hutton does perceive the properly religious character of Crowley’s 1904 revelation and consequent activities. However, he wants to dismiss the religious dimension of Thelema on the (somewhat justifiable) basis of the magical-rather-than-religious orientation of many latter-day Thelemites. It is an understandable position for him, in defense of his slogan touting Wicca as “the only fully formed religion that England has ever given the world.” (In light of the patently and confessedly religious nature of O.T.O., I would suggest a different gambit to Hutton: The revelation in Cairo to the globe-trotting adventurer Crowley, the German roots of O.T.O., and the subsequent formation of the first durable Thelemic communities outside of Britain indicates that Thelema isn’t so much a product of “England” as it is an inherently intercultural, cosmopolitan synthesis.) As in The Triumph of the Moon, Hutton is here focused on English witchcraft, especially as formulated by Gerald Gardner. He consequently gives no attention to the witchcrafts of American Jack Parsons and Australian Rosaleen Norton, both strongly influenced by Crowley themselves, and not via Gardner’s work.” [via]

“With a few minor exceptions, the level of scholarship in this volume is considerable. More than that, the papers tend to be lively and challenging reading. As Wouter Hanegraaff points out in his foreword, the caricature of Crowley as a quasi-medieval Doctor Faustus conceals a figure who is quintessentially modern, and to give the Beast his third dimension places him in the same space that the reader inhabits.” [via]

 

Dark Spirits: The Magical Art of Rosaleen Norton and Austin Osman Spare

You may be interested in this new opportunity to acquire Dark Spirits: The Magical Art of Rosaleen Norton and Austin Osman Spare by Dr. Nevill Drury through Salamander and Sons, due for an additional 95 standard hardcover copies in Dec 2012. I’d previously mentioned this book, but in the interim all the available copies had pre-sold, now there’s another simple cloth bound edition being made available.

“By late April 2012, all pre-order copies of the Deluxe Edition of Dark Spirits – strictly limited to 95 copies numbered by hand, fully bound in black leather with gilt title and device, and silk bookmark ribbon, and accompanied by an exclusive hand numbered print of the terrible Werplon entity encountered by Rosaleen Norton – had sold out.

Due to considerable demand from readers, we are making available for pre-order purchase just 95 copies of a standard hardcover edition of Dark Spirits. Although this standard hardcover edition will, like the Deluxe Edition, feature in excess of 120 colour and black and white images, it will be bound simply in cloth with a dust jacket, unnumbered and without the Werplon print. This standard hardcover edition is available for USD$85.00 plus worldwide airmail shipping USD$24.00.

Both the Deluxe Edition and the standard hardcover edition will be published on 05 December 2012 in order to coincide with the 33rd anniversary of Rosaleen Norton’s death – and with our profound apologies for the necessary revisions of publication dates.” [via]

 

“Although they never met, the Australian witch Rosaleen Norton (1917-1979) and British visionary artist Austin Osman Spare (1886-1956) shared many points in common. As occult practitioners operating within the Western esoteric tradition, both artists were well versed in the literature of Western magic, Theosophy, kabbalah, Eastern mysticism, and modern psychoanalysis. Fascinated by mediæval magical grimoires, they also explored the ‘seals’ associated with elemental spirit-beings and developed unique forms of sigil magic. Perhaps even more significantly, Norton and Spare utilised their own personal techniques of self-hypnosis and trance in order to produce their distinctive visionary artworks. As this book demonstrates, there is a clear parallel between the trance states associated with the Zos / Kia cosmology of Spare and the trance magic of Norton. Profiling both artists in detail, and with in excess of 120 colour and black and white images, Dark Spirits explores the unique contributions of both Spare and Norton as visionary outsiders and is necessary reading for anyone interested in the nether regions of the magical psyche.” [via]

Witch and wicked

Recent article about the Fri 13th opening of “Windows to the Sacred” exhibition which features work by Aleister Crowley and Rosaleen Norton at Buratti Fine Art in North Fremantle, Western Australia at “Witch and wicked” finally reveals more information about the exhibition in Australia around which I’d previously posted at “The Nightmare Paintings“.


The Sun (Study for Tarot, self-portrait) by Aleister Crowley

 

“Gallery director Robert Buratti says esoteric art is focused on the search for hidden knowledge of ourselves and our place in the universe.

‘The work is heavily influenced by symbolism and surrealism,’ Mr Buratti says.

‘It’s been an interest of mine kicked off by the exhibitions by Josephin Peladan in Paris in the late 1800s at the Salon de la Rose + Croix. While the Paris Salon was showing still life and landscapes, they were more showing works about spirituality.

‘Gauguin had a lot to do with symbolism coming to the forefront, so I’ve always thought it would be lovely to do a group show on it, but you don’t often get access to that sort of work.’

Buratti sought out the curators and researchers behind the highly successful 2008 Traces du Sacre at the Pompidou Centre in Paris and the satellite showing of The Nightmare Paintings by Aleister Crowley (1875-1947) at the Palais de Tokyo.

All of which landed Buratti in a huge bank vault beneath central Paris to view Crowley’s works. ‘It was like a massive prison, with steel balconies on each level and little doors full of boxes. There was an amazing amount of security. After going through several doors where two people unlocked them simultaneously, you finally get to the main room where some of the great art of Europe is locked away – literally centuries of collecting by private buyers rarely seeing the light of day.’

Dubbed by the British press as the wickedest man in the world, it’s the first showing of Crowley’s work in Australia. He turned his back on his Christian upbringing, and his mother, who called him ‘The Beast’. A drug user of wide range from opium to ether, he was also a heroin addict.

Described as a colourful occultist, mystic, magician and poet who courted the press, Crowley devised his own philosophy and started a commune in Sicily in 1920, until Mussolini threw him out of the country in 1923.

Buratti says during this time in Sicily Crowley painted feverishly. ‘The works in the show are from that period and were on display in the Paris exhibition.’

Across the world in Sydney, Rosaleen Norton (1917-1979), was influenced by Crowley’s writing. Called the Witch of Kings Cross by the tabloids, and devoted to the god, Pan, she has the dubious honour of having her work seized and destroyed by the Australian government. Her life was punctuated by high-profile legal cases for obscenity but in later life she became a tourist attraction.

Despite the controversial lives of Crowley and Norton, their small representation in the exhibition seems mild.

Back to the present, Canberra-based Kim Nelson and indigenous artist Danie Mellor provide a different slant together with works by James Gleeson (1915-2008), considered the father of surrealism in Australia.

Sydney-based Barry William Hale is also included. Better known internationally, his work across many media is influenced by everything from sorcery to the paper-cut tradition of indigenous Mexicans.

Hale will perform at the Revelation Perth International Film Festival with the group Noko in its WA premiere of a combination of projected images, experimental music and interpretation of magic.

The affable Hale says his adoptive father was an exporter who came home with exotic artefacts, photos and footage from places such as the highlands of Papua New Guinea, fostering an early fascination for other cultures. His biological parents, both artists, were pioneers of alternative living at Nimbin.

‘I’m always an aesthetic sponge to different expressions of human spirituality and drawn to uncovering different esoteric practices,’ he says.

Buratti says the exhibition is about doing something different but also linking into ideas happening around the world.

‘There’s been renewed interest in esoteric art from curators around the world. You don’t want to get too weird with it because you want to be comfortable with the content you’re putting in front of people, and you don’t want people to misunderstand what you’re about,’ he says.

‘It’s always difficult to tell how people will respond but the interest has been massive.'” [via]


The Moon (Study for Tarot) by Aleister Crowley

 

Update 12jul2012 @ 5:12pm – Now that I know the actual name of the exhibit, I’m finding information about this show all over the place. For example there’s a note about “Windows on the Sacred” on the front page of Fulgur Limited, LAShTal reported on this last month, and there appears to have been a very informative email newsletter that you can gander at online about this as well.

Aleister Crowley and Western Esotericism

You may be interested in Aleister Crowley and Western Esotericism (and via Amazon), edited by Henrik Bogdan and Martin P. Starr, and scheduled for August 2012 from Oxford University Press and September via other retailers like Amazon. The hardcover is listed at a steep $99, but there’s a $35 paperback due in Sept (and via Amazon).

“Henrik Bogdan and Martin P. Starr offer the first comprehensive examination of one of the twentieth century’s most distinctive occult iconoclasts. Aleister Crowley (1875-1947) was a study in contradictions. He was born into a Fundamentalist Christian family, then educated at Cambridge where he experienced both an intellectual liberation from his religious upbringing and a psychic awakening that led him into the study of magic. He was a stock figure in the tabloid press of his day, vilified during his life as a traitor, drug addict and debaucher; yet he became known as the perhaps most influential thinker in contemporary esotericism.

The practice of the occult arts was understood in the light of contemporary developments in psychology, and its advocates, such as William Butler Yeats, were among the intellectual avant-garde of the modernist project. Crowley took a more drastic step and declared himself the revelator of a new age of individualism. Crowley’s occult bricolage, Magick, was a thoroughly eclectic combination of spiritual exercises drawing from Western European ceremonial magical traditions as practiced in the nineteenth-century Hermetic Order of the Golden Dawn. Crowley also pioneered in his inclusion of Indic sources for the parallel disciplines of meditation and yoga. The summa of this journey of self-liberation was harnessing the power of sexuality as a magical discipline, an instance of the “sacrilization of the self” as practiced in his co-masonic magical group, the Ordo Templi Orientis. The religion Crowley created, Thelema, legitimated his role as a charismatic revelator and herald of a new age of freedom under the law of “Do what thou wilt.”

The influence of Aleister Crowley is not only to be found in contemporary esotericism-he was, for instance, a major influence on Gerald Gardner and the modern witchcraft movement-but can also be seen in the counter-culture movement of the late 1960s and early 1970s, and in many forms of alternative spirituality and popular culture. This anthology, which features essays by leading scholars of Western esotericism across a wide array of disciplines, provides much-needed insight into Crowley’s critical role in the study of western esotericism, new religious movements, and sexuality.” [via]

“Foreword – Wouter J. Hanegraaff
1. Introduction – Henrik Bogdan and Martin P. Starr
2. The Sorcerer and His Apprentice: Aleister Crowley and the Magical Exploration of Edwardian Subjectivity – Alex Owen
3. Varieties of Magical Experience: Aleister Crowley’s Views on Occult Practice – Marco Pasi
4. Envisioning the Birth of a New Aeon: Dispensationalism and Millenarianism in the Thelemic Tradition – Henrik Bogdan
5. The Great Beast as a Tantric hero: The Role of Yoga and Tantra in Aleister Crowley’s Magick – Gordan Djurdjevic
6. Continuing Knowledge from Generation unto Generation: The Social and Literary Background of Aleister Crowley’s Magick – Richard Kaczynski
7. Aleister Crowley and the Yezidis – Tobias Churton
8. The Frenzied Beast: The Phaedran Furores in the Rites and Writings of Aleister Crowley – Matthew D. Rogers
9. Aleister Crowley: Freemason! – Martin P. Starr
10. “The One Thought that was not Untrue”: Aleister Crowley and A. E. Waite – Robert R. Gilbert
11. The Beast and the Prophet: Aleister Crowley’s Fascination with Joseph Smith – Massimo Introvigne
12. Crowley and Wicca – Ronald Hutton
13. Through the Witch’s Looking Glass: The Magick of Aleister Crowley and the Witchcraft of Rosaleen Norton – Keith Richmond
14. The Occult Roots of Scientology? L. Ron Hubbard, Aleister Crowley and the Origins of the World’s Most Controversial New Religion – Hugh Urban
15. Satan and the Beast. The Influence of Aleister Crowley on Modern Satanism – Asbjorn Dyrendal” [via]

Dark Spirits: The Magical Art of Rosaleen Norton and Austin Osman Spare

Dark Spirits: The Magical Art of Rosaleen Norton and Austin Osman Spare” by Nevill Drury, due late June, has been announced for pre-order via Salamander and Sons.

 

“Strictly limited to 95 copies numbered by hand. More than 120 colour and black and white images. Fully bound in black leather with gilt title and device. Silk bookmark ribbon.

Published to coincide with the Northern Summer Solstice 2012. USD$126.00 plus worldwide airmail shipping USD$24.00. Free with each copy, an exclusive hand numbered print of the terrible Werplon entity encountered by Rosaleen Norton.”

 

“Although they never met, the Australian witch Rosaleen Norton (1917-1979) and British visionary artist Austin Osman Spare (1886-1956) shared many points in common. As occult practitioners operating within the Western esoteric tradition, both artists were well versed in the literature of Western magic, Theosophy, kabbalah, Eastern mysticism, and modern psychoanalysis. Fascinated by mediæval magical grimoires, they also explored the seals associated with elemental spirit-beings and developed unique forms of sigil magic. Perhaps even more significantly, Norton and Spare utilised their own personal techniques of self-hypnosis and trance in order to produce their distinctive visionary artworks. As this book demonstrates, there is a clear parallel between the trance states associated with the Zos / Kia cosmology of Spare and the trance magic of Norton. Profiling both artists in detail, and with in excess of 120 colour and black and white images, Dark Spirits explores the unique contributions of both Spare and Norton as visionary outsiders and is necessary reading for anyone interested in the nether regions of the magical psyche.”