[Vol.1,No.5] Mezlim - Candlemas 1991

8/13/2019 [Vol.1,No.5] Mezlim - Candlemas 1991

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C O N T E N T SEditor's Forum 1K enneth DeighT he State of Magick T oday 3

Don Michael KraigT he Shadow T arot 5Linda FalorioT he Ur ban Shaman 9K enneth DeighT he Milk of the Stars 14Sam W ebsterParaT heatrical Research 2 5

A n t e r o A l i iPsychological Perspectives on Magick 2 9

Diane T aborVoice of the Sheya 3 1

A M E N A R ARy'Leh Rising 3 4

Kenn Day & Rick McC ol lumThe Circle 4 2LauraliLetters 4 3Re vi e ws 44Tips for the "City Mage" 4 6

A.I.W.A.F.Magick and the Stars 4 7A.I.W.A.F.Hands on Tarology 4 9

Silver Raven Wolf

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E D IT O R 'S F O R U MW h a t is th e s t at e o f M a g i c k t o da y ?W e l iv e i n a w o r l d o f i n c r e a s in g

i ns t a bi li ty . E v e r y t h in g w e k n o w o f t hew o r l d c a n b e s w e p t a w a y , f o r i t s t a n ds o nt h e f r a g i le le g s o f K n o w l e d g e . B e t w e e nS c i e n c e a n d A r t , w e c o n s t a n t ly d is c o v e rm o r e a n d m o r e o f o u r u n i v e r s e ,u n v e i l i n g t h e v a s t r e ac he s o f o u ri m a g i n a t i o n .

I t i s i n t h i s w o r l d o f t h r i l l i n g c o n t r a s t s ,t r a u m a t i c r e v e l a t i o n s a n d g l o b a lc o m m u n i c a t i o n d i a t M a g i c k is c o m i n go f ag e . D a n c i n g it 's w a y i n t o t h em a i n s t r e a m o f c o n s c io u s ne s s ( b e i n gv i l i f i e d a l l th e w h i l e ) , m a g i c k is p o p p i n gu p i n t h e s t r a ng e s t p l ac e s . W e s e e s i g n so f i t in m o d e r n d e p t h ps y c h o lo g y , i nq u a n t u m m e c h a n i c s a n d c h a o s p h y s i c s .U n r e a l i z e d b y t h e m a s s e s , M a g i c k i sr e a w a k e n i n g .

T h is is t h e N e w A e o n , a po t e n t i a lG o l d e n A g e f o r M a g i c k a n d M a g i . T h isis t h e a g e o f s o v e r e i g n t y f o r a l l w h o a r ep r e pa r e d t o d o t h e ir W o r k a n d t h e i rW i l l .

W e s t a n d po i s e d o n t h e l i p o f t h eabyss.

C o l l e c t i v e l y w e ha v e s p e nt t h e la s ta e o n p r e p a r i n g o ur s e lv e s f o r w h e r e w en o w s t a n d. W e h a v e g a t he r e d t h e d a t a ,p e r f o r m e d t h e e x p e r i m e n t s , u n v e i l e d t h em y s t e r i e s a n d d e v e l o p e d t h e g l o b a l

c o m m u n i t y w h i c h w i l l a l lo w us t o m o v eo n t o t h e n e x t s t ag e i n o u r e v o l u t i o n . I fw e d a r e .

A s i n d i v i d ua l s w e l i v e i n a w o r l d o fa s t o n i s h i n g d i v e r s i t y a n d o p p o r t u n i t y .W h e r e t h e w i s d o m o f t h e ag e s isa v a i l a b l e - a n d o f t e n r e f u t e d b y m o d e mm e t h o d s . O u r h e r i t a g e is t h e E g g o fR e a s o n , t h a t w a r m a n d r i g i d c o n c e p t u a lc o n s t r u c t w h i c h l e d us t o b e l ie v e t h a te v e r y t h i n g i n t h e u n i v e r s e c o u l d b er a t i o n a l l y e x p l a i ne d b y t h e pr o ce s s o fs c i e n c e .

T h a t C o s m i c e g g is c r a c k i n g u n de r t h ew e i g h t o f h u m a n e v o l u t i o n , a n d i t w i l ls o on l ie in pie c e s . I t is up t o us t od e t e r m i n e w h a t a ris e s f r o m t h a t b r o k e ns phe r e . W i l l w e be th e P h o e n i x o rs i m p l y t h e f a d i n g s c e n t o f a d e c a y i n gc i v i l i z a t i o n t h a t c o u l d n o t m o v e b e y o n dit s s e l f - i m po s e d l i m i t a t i o n s ?

T h is is t he r o l e o f t he m o d e r n M a g u s .T o c h a l le n g e t he l i m i t a t io n s a n dd e f i n it i o n s t h a t w e ha v e i n he r i t e d . T oc r e a te a n e w w o r l d w i t h t h e r e s our c es o ft h e o l d , a n d t o e n te r t h a t w o r l d asM a g i c k a l c h i ld r e n . T o l e a r n , e x p lo r ea n d b e c o m e .

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S T A F FEZLIMM E Z L I M V o l um e I , Is s ue N o . 5 N ' C h i 1 9 9 1 .

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M E Z L I M IS P U B L I S H E D B YN'Chi

M A N A G I N G E D I T O R / P U B L I S H E RK e n n e t h D e i g h

A S S O C I A T E E D I T O RA K e t h e r E l a n

T E C H N I C A L A S S I S T A N C ED a v i d C h a r l e s T o d d

P R O D U C T I O N M A N A G E RK e n n e t h D e i g h

A D V E R T I S I N G C O O R D I N A T O RM i c h e l e R o c k n e

C O N T R I B U T I N G W R I T E R SD o n M i c h a e l K r a i g , L i n d a F a l o r i o ,

P u ru s as 2 5 2 , K e n n e t h D e i g h , S a m W e b s t e r ,A M E N A R A , A n t e r o A l i i ,

D i a n e T a b or , S i l v e r R a v e n W o l f ,L a u r a l i , A . 1 . W . A . F.

C O N T R I B U T I N G A R T I S T SS o r o r T a l a , M i s h l e n L i n d e n ,

J a n e W o o d c o c k , R A G ,E d i s o n G i r a r d ( c o v e r i l l u s t r a t i o n )

T h i s p u b l i c a t i o n is a M e m b e r o ft h e W i c c a n / P a g a n P r e s s A l l i a n c e .

F o r m o r e in f o r m a t i o n a b o ut t h e W P P A w r i t e t o:P . O . B o x 1 3 9 2

M E C H A N 1 C S B U R G , P A 1 7 0 5 5



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T HE STATEOF MA G IC K T ODA YB y D o n a l d M i c h a e l K r a i g

S om e t im e s , f rom t h e w a y p e op le w r i teand act , I 'm incl ined to w onder i f peoplere a liz e t h a t t he re w a s C e re m onia l Ma g ic kB . G . D . B e f o r e t h e ( H e r m e t i c O r d e r o ft h e ) G o l d e n D a w n . W e l l , o f course therewas. So w hat's the big deal about theG.'. D.' .?

First of all, i t must be understood thatve ry l i t t l e w a s k now n a b out C e re m onia lMa g ic k a t t he t im e . Mos t o f w h a t w a sk now n c a m e f rom E l ip h a s L e vi ; a nd m uc hof w h a t h e w rote w a s c onj e c ture a ndfold e rol a nyw a y. T h e im port a nc e of t heG ol d e n D a w n ( t o m a g ic ia ns ) w a s t w o- fo ld .First, it presented a system of preparation,study and technique for learning magick.Second, the leading minds of the G. ' . D. ' .were able to take a variety of disparatemagickal systems and unite them into aunitary whole. I contend that they created acomplex, though logical system, a l though Iam sure that others w ould disagree w ith meon this. I would also add, although this isnot direct ly related to magick, the GoldenDaw n was able to attract some of theleading minds of the t ime, much as theA l g onquin R o und T a bl e d id a few d e ca de slater.

B ut the point I w ant to s tress is that theGol d e n D a w n c re a t e d s om e t h ing ne w . T h e ycreated a true mystery school w ith theirow n s ys te m of de v e l op m e nt a nd m a g ickbased on ancient tradition. Today, most self-procla imed magicians are content to mouthwords writ ten a century ago and modif ied byothers s ince. T his is not magick. T his isH e r o w ors h ip

Several issues ago I wrote about the legal

batt les and war of words betwee n two self-styled "Ros icrucian" groups. For somere a s on, t he re is a g re a t ne e d a m ong s om epeople to be members o f the one, true, only,ancient, t radit ional , c athol ic , etc. , etc.magickal order of the ( f i l l in the blank) . Iconte nd tha t th is is due to the fact that theA g e of A qua r ius ( c a l l i t w h a t you w i l l ) i sonly b e g inning , a nd w i l l not re a c h its h ig hp oint for s om e t im e . A s a re s ult , p e opl e w h osti l l have a mind- set from the previous ageneed the s igns of that (Piscean) ageale a de r t o fo l low w h o c a n p rovide"irrefutable" proof of reality beyond one'sow n e x p e r ie nc e .

A w ord to the w ise: Readchapter 88 from T h e B o o kof Lies.H e nc e , t h e oc c ult c om m unit y s t i ll ha sbogus operators . O ne person, w ho said tha t

he w ould get r ich by "sel l ing crysta lsuppositories to new age yuppies," now is atitular leader of a group that c la ims to beb ot h or ie nt e d t ow a rd t h e Gol d e n D a w n a ndCrow ley. I 've seen some of their materia lsa nd t h e y s e em t o b e not h ing b ut s tuf f f romC r o w l e y a n d t he G o l d e n D a w n w i thdif ferent names added or materia l from oneritual added to another. Ho hum.

A not h e r g roup offers in i t ia t ion byproxythey' l l init iate someone else in yourplace. T hey, too, c la im to be in thet ra d i tion of t h e G ol d e n D a w n. H o h um .

B oth of the above groups, by the way,charge large sums of money for their non-ex istent "secrets ." A word to the w ise: Read



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c h a pt e r 8 8 f rom T h e B o o k o f L ie s .I s h oul d not c om e d ow n t oo h a rd on

Ceremonial is t sheep (oops, 1 m e a nmagicians) and the greedy sorts who woulde x t o r t mo n e y f r o m t h e m . A f t e r a l l , W i c c a n stend to play the "my tradit ion's older thanyours is " g a m e w i t h e qua l fe roci ty . A nd t h a tisn't ev en g oing into the equal ly useless "I'ma W it c h , you're a N e op a g a n" d e ba t e .

Does the past really matter?W e l l , ye s , t o a c e r t a in e x t e nt , i t doe s .

T h os e w h o d o not l e a rn f rom t h e irpredecessors w il l inev itably make the samee rrors . H ow m a ny t im e s h a ve Gol d e nDawn- type groups had inter necine strugglesand schismsjust as the orig inal group did?W h y h a ve none of the s e s e m i- p ub lic g roupslearned from the mistakes of the orig inalG . '. D.\ ?

T hus, s tudy o f past magicians andtechniques is important. A letter in theS a m h a in 19 9 0 is sue of Me z l im s a id t h a tdirect source materia l on T antra is av ai lablef rom one org a niz a t ion. W h i l e i t is true t h a t1 have studied those teachings, a lbeit fromA M O O K O S i n E n g la nd a nd n o t t he I O N ,a nd c a n re c om m e nd t h e in form a t ion f romb ot h o f t he m , I a g re e w i t h t h e w r it e r o f t h a tletter that one s hould go back to f irs t- handinform a t ion ra t he r t h a n s om e of t hedubious mate ria l that c la ims to be correct .F or e x a m p l e , a g ood d e a l o f t he in form a t ionin m y a r t ic l e c a m e not j us t f rom a l iv ingteacher, but from the Yoga aphorisms ofPatangal i . In fact , I recently read twoart ic les in "T he Oc cult Diges t" from aro und1912 that used a lmost the same descript ionsas 1 used.

To sum up, while i t is va luable andimportant that people leam from the past , i tis not h ing m ore t h a n h e ro w or s h ip t o d o no

m ore t h a n w h a t w a s w r i t t e n b y C row l e y,Ma t h e rs , R e g a rd ie , Gra nt , Ga rd ne r ,S t a rh a w k , A d l e r , S a nde rs , e t . a l.

B ut t h is is not t h e onl y m a j or d if f ic ul tywith magick today. For i t is possible to got oo far ove r t o t h e s ide of e x p e r ie nc ew it h out t h e s t ud ie d b a c k g round t ound e rs t a nd t h a t e x p e r ie nc e in a m a g ic k a land/or sociological context . For example, Ih a ve b e e n t o t oo m a ny r i t ua l s w h e renot h ing s a ve e g o m a s t urb a t ion b y t h eleaderstook place. I have a lso l is tened top e opl e w h o t a k e h ours t o e x p l a in t h e ir"unique" system o f magick, w h e n t h e y c oul dhave s imply sa id, "I use the s ig i l system ofS p a re " or "I use a c om b ina t ion of e v oc a t iona nd he rb a l m a g ic k . " T h e y t h in k t he y h a ved e v e lo pe d s o m e t hi ng n e w w h i c h , o fcourse, requires a new set of catch wordsa nd p hra s e s w h e n t he y a re j us t us ing ne wterms to describe something that has beenaround for thousands of years.H o h u m .

I am glad to say, however, that I haveseen (especia l ly over the last year) ag r o w i ng n u m be r o f m a g i c ia n s w h o a refa m i l ia r w i t h t h e p as t a nd a re b ui l d ing t h e irown systems and their own groups to createpowerful systems of magic.T he s e n ewsystems take o ff where the famous,c ont e m p ora ry m a g ic ia ns ( w h o e i t h e rstopped working or died between the periodof 19 00- 19 6 0) e nd e d.

T hus, I bel iev e that the curre nt s tate ofmagick is at a turning point . For the mostpart, i t is s t i l l composed o f the antiquatedideas taken from the Piscean age. But moreand more research and pract ical work arebeing done , and the possibi li ties are trulyendless. I also hav e g reat hopes t hat themagicians of today wil l be the f inest doctors ,artists, musicians, actors, writers and evenp ol it ic ia ns of t h e fut ure p e rh a ps w e c a nh e l p t h e w or l d int o t h e A g e of A qua r ius .

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T HE S HA DOW T A ROTBirthing T he Dark Feminine W ithin

by Linda Fa lor io

T h e S h a d ow T a rot is a t a rot o f th e d a rke ne rg ie s of t he S oul : T h os e D a rk F e m ininepowers within each of usthat must bebrought into the l ight and nourished i fh um a nit y is e ve r t o e vol ve b e yond i tscurrent l imited v is ion. Fif ty- f ive months o fint e ns ive m a g ic k a l w ork ing s h ave b roug h tt h roug h 22 p a int ing s of t he T unne ls of S e tas we my ma gickal partner Fred Fowlerand mysel f ex perienced them in our

e x t e ns ive e x p lora t ions of t h e ir l a b yr int hinetwist ings and turnings beneath the daysidepaths of the T ree of L i fe.

Such "Tarot Trumps of the backside oft h e T re e of Life", had been outl ined byA l e is t er C r o w le y i n L ib e r 2 3 1 : " T h e G e n i iof t h e 22 S c a l e s of t h e S e rp e nt a nd of t h eQliphoth", and discussed in detai l byK e n n e t h G r a n t i n N i g h t s i d e o f E d e n ,where he speaks of the T unnels of Set as "anetwork of dream cel ls in the subconscious



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mind." Here he advises that rather thana s c e nd ing t h e Pa t hs v ia Ma l k ut h , a s inGol d e n D a w n p a t h w ork ing t e c h nique s , t h eunde r l y ing T unne l s of t h e T ree a re t o beexplored by project ing consciousnesst h roug h D a a t h : " t h e g a te w a y of t h em a ni fe s t a t ion of non- m a ni fe s t a t ion".

E a c h of t h e p a int ing s of t he T unne l s ofS e t t h a t c om p ris e T he S hadow T a r o t a redesigned to open this gateway for those whoare drawn by their beauty a nd their mystery.Using the ancient magickal s ig i l as a focus,with surrounding visual images, each yantrafaci l itates mag ickal access to a repository ofd a rk fe m inine pow e r : R e a l m o f t he A nc ie ntO ne , F ac ele s s O ne , D a rk God d e s s ,Ereshkigal , Bearer of the Blood.

T he Shadow T a rot e x ist s to b r ing t h eW orl d b ot h Mic roc os m a nd Ma c roc os m back into balance. It is but onem a ni fe s t a t ion of a l i fe long quest for heal ingand wholeness t hat has lead us through thel a b yr int h ine w or ld s of Ma g ic k , a d va nc e ddegrees in psychology , w ork as psycho-therapists and psychic healers, painting,writ ing, and the reif icat ion of dreams.T hew o r k ha s g r ow n o u t o f ou r e v o l v i nginterests , yearnings, and needs: Ma nysimultaneous threads that I shal l a t tempt tow e a ve .

W e came from quite dif ferent spaces - he,f rom a H um a nis t - S c ie nt i f ic b a c k g round; 1,f r o m R o m a n- P a g a n - C a t ho l ic . W econverged at a t ime in our l ives more thant w e nt y ye ars a g o w h e n w e w e re t ry ing t o g e tto the unconscious roots of our consciousthoughts , emotions, and behaviors in ordert o g a in m ore f re e d om in fo l low ing ourc re a t ive W i l l s . N a t ura l l y e noug h , our p a th ssoon led us into M ag ick, in quest of ourD a i m o n s t h r o u g h "K n o w l e d g e a n dC o n v e r s a t i o n o f t h e H o l y G u a r d i a n A n g e l " .

T h is t ook a l it t l e w h i l e . A nd as e ve ry ide acontains the seeds of its ow n op pos i t e , w ew e re a t t he s a m e t im e introd uc e d t o t h econcepts of "atavist ic res urgence", a nd"retrovers ion of the senses", to the work ofA u s t i n O s m a n S p a r e , a n d , t o K e n n e t hGrant's T he Nightside of Eden.

Me a nw h i l e , our w ork w i t h ind iv id ua l shaving severe mental/emotional disordersled us to some profound conclusions aboutt h e h um a n c ond i t io n a nd t h e p os s ibi li tie s ofm a g ic k . I t s oon b e c a m e a p pa re nt t h a t w ee a c h c re at e our ow n re a li tie s . A s id e f romquestions o f biochemistry , genetics a ndbiology, what dist inguishes a "healthy"ind iv id ua l f rom one w h o is not s o "h e a l t h y "is the size of their personal universe.S e ve re ly i ll ind iv id ua l s l ive in a ve ry na rroww orld, bounded by fear.

F e ar is a n int e re s t ing p h e nom e no n. F e aris a primit iv e, inst inctual re act ion to theintrusion into our safe, bounded real it ies oft he U n k n o w n : W h a t c a n n o t be c o n t a in e d ,or accounted for. Fear thus has a v ery usefuls urv iva l func t ion. By i t , w e are a b le t od e f ine w h a t w e a re not , d e f ine t h e l im i t s ofour unive rs e , a nd t h us d e f ine T h e E ne m y,preserving the boundaries of our preferred"real i ty tunnel ." Unfortunately, th is has theeffect of severely l imit ing possible l iberat ingw or l d v ie w s ( e . g ., t he no t ion t h a t " i f m a nw a s m e a nt t o fly , G od w oul d ha ve g ive nh im w ing s " k e p t h um a nit y e a r t h b ound form a ny m i l l e nnia . )

A l l fe ar is fe a r of death. W e fe ar de a t h ofthe phys ical body. W e fear death o fcherished concepts tha t prop up our createdw orlds. W e fear death that is dissolut ion oft h e e g o w h e n t h e I r ra t iona l a nd P r im it ivesw amp rat ional left- brain consciousness.

T h e a nt id ot e t o fe a r is l ove . Ma g ic ia ns ,shamans, sorcerers , and mystics from t ime

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im m e m or ia l h a ve s oug ht t o e x p a nd t h eboundaries of their universe by expandingthe l imitat ions of their fear through "loveunder w il l". For ex ample, the pract ice ofm e d it a t ing in a g ra ve ya rd w h il e s i t ting a t opa h e a p of h um a n b one s , a nd m a ny ot he rs uc h m e d it a t ions , invol ve s t h e "N iy a m a ofV enus", or "retrovers ion of the senses":U ni t i ng c ons c ious nes s t h roug h l ove w i t h a l lthat is perceived as "not I".

In the process o f creat ing our solar- phal licworld, we have been told, the dark shel ls ofthe Q l ipho th were "cast off ' as "imperfect",not acceptable - "not I".

But w h a t a re the s e w or l ds , re a lly? W h a twe found when we launched ourselves intothese nether regions o f the soul and psychewas a profound, beautiful and intense w orld,ful l of power, ful l of passion: T h a t o f t heD a rk F e m inine w i t h in . W e found p ow e rs ofthe deep and primit ive backbrain combinedw ith rapidly e v olv ing s tellar consciousness -t h e N am e le s s A e o n of t he re m ot e pa s t inc re a tive m is c e g e na t ion w i t h t h e W ord le s sA e o n of far f lung and unfathomable futures.

W e a re m ore w h ol e t h a n w h e n f irs t w eentered upon our dark explorat ions, ourawarenesses have a l tered a nd e x panded, weh a ve e vol ve d in w ays w e h a d not d re a me dof. W e learned that in our solar- phal licworld, women as wel l as men must learn tohonor these energies and powers that havecome to be in Shadow only because of theoverweening brightness of the l ight .

"A s above, so below". A s s tellar-sorcerers,we have ul t imately become interested in theevolut ionary/planetary task of bringingthese "dark" energies of consciousness intoconscious awareness, ex panding ouruniverse through "love under wil l" in thetradit ion of myst ics and mages of the past .

For, in mov ing bey ond solar- phal licconsciousness and reconnecting with ourv i t a l h um a n c ore ( da rk c ore of power)byal tering individual consciousness, anengr am, or pathway is created in thecol lect ive unconscious whereby the groupsoul is a f fected and new areas ofconsciousness are opened to an ev erexpanding human awareness. In this l ies thep ow e r o f our magicks to effect profoundchange, the possibi li ty of accelerat ing thea w a k e ning of h um a nit y t o fu ll y c ons c iouspart ic ipat ion in the planetary Gaia , and theult imate evolut ion of our planetary l i fe-wav e int o cosmic- stellar realms.

W e a re e ng a g e d in t h e c o nt inuing proc es sof b ir t h ing e x c i t ing ne w re a li tie s v ia t h eenergies o f T he S hadow T arot.W e i nv i t ethose magicians, w iccans, shamans,sorcerers , and psy chonauts w ho feel draw nto such explorat ion to come join us in thisw ork , w h ic h h as b e c om e one o f b ot hpersonal and g lobal evolut ion to wholenessa nd h e a l ing . J o in us in op e ningconsciousness to the energies of our futureselves spira l ing back thr oug h t ime to showus t he l um inous b e auty of w h o w e one da ym ig h t c om e t o b e.

T h e f o l l o w i n g is a c o nd e n s a t io n o f t w orituals created by Mishlen Linden, forre i fy ing t h e c urre nt o f T he Shadow T arot.

From T H E T R I A N G L E O FF L E S H ; a n dN I G H T B I R T H I N G :A Ritual for the Solo Magician

by Purusas 252

"T his r i te is used for both introducingonesel f to the forces conta ined in the cardsa nd form a t ion of t h e T unne l o f S e t ins idethe Te mple. Lay the cards in order, s tudying



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facing inward toward the center, each cardb are ly t ouc h ing t h e ne x t . L e t t h is s it a nd"c ook " for a da y. ( N ot e : I f one d oes no t h a veaccess to the cards, pieces of par chme nt, etc.on w h ic h t he s ig i ls f rom L IB E R 231 h a vebeen draw n may be used instead.) T hep rop e r inc e ns e is o f t he Mo on. F um ig a t e t h eroom w e l l .

T h e m e d ium of s ound is one of t h e s ure stways to "feed" and establish contact w iththese beings. L et your body f ind i ts natur alp ow e r z one , a nd ch oos e a vow e l . S ing t h a tnot e into awareness. V isualize prana/light asit spreads out from your mo uth into thecircle. Feed the circle in this way. Hissing isa ls o a v ia bl e form of voc a l iz a t ion. T ibe t a nove r t one c h a nt ing s ee ms t o b e t h e s t rong e s tme thod, and it is performed as describeda b ove , b ut w i t h out l e t t ing a i r g o t h roug h t h enose, which creates a nasal and inhumans ound . T h e a i r i s d ra w n f rom t h e low e r c he s tand vibrates the entire cavity, therebyreleasing power.

S i t w i t h in t h e T y p honia n c i rc le t h uscreated. Down on hands and knees, f ingerssplayed outw ard, invok e the guise of theSpider. T he web leads out to e ach card, andshortly, one of the images of the cards w il lappear in your mind. Draw the card astra l lya l ong t h e w e b t ow a rds y ou, us ing m ove m e nt sof the hand as i f you w ere pul ling rope. Placethe astra l image of the card within your"womb".

L y ing on your ba ck w i t h in t h e c i rc le w i t hyour le g s a pa rt , invok e t h e Pr im a l M ot h e ra nd g ive b i r t h t o your C h i l d , t h esynergizat ion of your Sel f and your chosena t a v is m . C orn- union ma y t h a n beestablished.

M a n d r a k eB o o l u f o r th e N e w A e o n9 3 r e a s o n s t o p k k u p a M a n d r a k e b o o k o r c a t a l o g u e :

A m o o k o s T a n t r a M a g i c k * T i m o t h y * D ' A r c h* S m i th B o o k s * O f T h e B e a s t S u r r ea l i s m* & * T h e * O c c ul t * S i ck e r t J a c k T h e * R i p p e r* T h e M a g u s * N u i t I s is * T a n t r a M a g i c k H e i n i n a r *V i s u a i - m a g l c k * T h u n d e r s q u e a k S e x S e c r e t s * B l a c k *M a g i c i a n s * E x p o s e d * W o r d s * M a d e * F l e s h * S k o o b *O c c u l t R e v i e w C r o w l e y A r t * A m e r i c a n * F r a n c i s* B a r r e t t G o l d e n D a w n * M a a t S t a r * I n W e s t *L i b e r A 1 * O i A u s t i n S p a r e * S i g i l l u t l o o * R o s a *M u n d l * C o r r e c t S a d i s t * S t r a t e g e m * S t a r l i t * M i r e O a d a j l K a u l a * T a n t r a F r o m ' I n d i a * M a g i c a l * A r t *L i b e r * I I * S t r a n g e * K a t o n * S h u a l S e x u a l * M a g i c k *J e a n * O v e r t o n * F u l le r * M a g i c a l D i l e m m a o f V i c t o r* N e u b u r g S n o o W i l s o n M o r e L i g h t M i c h a e l M a g e e* T a n t r i k A s t r o lo g y

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T HE URB A N S H A MA NAlive and Working in the Big Cityby K e n n e t h D e i g h

T his ar t ic le is to address the s pecif icp l ig h t o f t h e m o d e m s h a m a n w h o l iv e s i nthat most barren of wastelands - t h e "Ma j orMe t rop ol i t a n A re a . " T h is is for t hos e ofyou w h os e c onne c t ion t o t h e e a r t h isl im it e d t o a n h e rb g a rd e n und e r af l uore s c e nt l ig h t ne x t t o t h e k i t c h e n s inka nd a p h il od e nd r on ove r t h e b a t h t ub ; fort hos e o f you who f ind traff ic l ights andchecker cabs popping up in yourunde rw or l d , a nd w h o c a n' t d rum a l l n ig h tduring v is ion quests because y our neig hborsl ive t hi r tys ix inc h e s d ue w e s t of yourT e m p l e .

Perhaps the s ingle most importantd if fe re nc e b e tw e e n t h e w or l d of t hea b or ig ina l s h a m a n a nd our m od e rnp a t c h w ork of societies ha s t o d o w i t hs t a bi li ty . T h e w or l d of t he a nc ie nt s h a m a nm a int a ine d a c e r t a in c ont inui t y f rom ones e as on t o t he ne x t , one g e ne ra t ion t o t h ene x t . T h a t i s , t h e p e opl e h e d e a l t w i t hspoke the same language , l ive d by the samecode and dreamed in images s imilar to thoseof t h e ir re c e nt ance s t ors . W h e ne v e rs om e t h ing h a p pe ne d t o b re a k t h is f low ofs imilarity, i t seemed l ike an act o f the gods.

T oda y w e l ive in a c ons t a nt a nduna void a b l e f l ow of s uc h c h ang e s ; a nd t oeffect ively cope with our l ives, we must beable to deal with these changes on a dai lybasis witho ut "fa l l ing apart ." Ev en i f yourpart icular metropol is isn' t teniblycosmopol itan, you are st i l l expected tointeract with people from a wide spectrumo f diverse cul tures, w ho ref lect dif feringlanguages, customs, myths and archetypal

symbols . Because o f this divers ity, w e mustd ig e ve r de e pe r int o our ow n e x p e r ie nc e ofour s e lve s as h um a n t o f ind t h e c om m ond e nom ina t ors w h ic h uni t e us a ll .

W h a t is a s h am a n?S inc e w e no l ong e r l ive in t h e s im p lis t ic

w or l d of t h e E ld e rs , w e c a n h a rdl y d e f ineourselves by their terms. T he moder ns h a m a n m a y s ee H l rs e l f as a "Speaker forthe gods," a g uide betw een worlds, a healer,a j ud g e , a c ouns e l or or a c ong l om e r a t ion ofa l l t he s e a nd more . A s w i t h so m any t h ing s ,this term has become mostly a matter of selfd e f in i t ion. I f s om e one c hoos es t o d e f ineH l r s e l f asa shaman and effect ively ful f i llsthe definit ion of that role as SHe defines i t ,t h e n S H e is - b y d e f in i t ion - a s h a m a n.

T here is no one traditionw hich can rev eal a l l themysteries w ith w hich w e live.Now to brass tacks - a shaman is a person

who is more than just "sensit ive" to thew or l ds a round t h e m . A s h a m a n is a b le t om ove a t w i l l in t o a lt e re d s ta te s a nd int o t h eM ic r o c os m o f H I r I n ne r W o r l d - while a lsob e ing a bl e to re t urn a nd "g round out . " S H eis able to interact w ith the archetypes ofthat world and to guide others through thatinternal landscape, protect ing them andint rod uc ing t h e m t o t he inh a b it a nt s of t h e irow n t ot e m ic p a nt h e on.

In a t im e w h e n t h e t r ib a l s h a m a n h a dM e z l i m - 1 0 - C a n d l e m a s ' 9 1


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only a s ingle cultural identity to deal with,sort ing through the eccentric it ies of eachind iv id ua l m us t h a v e b e e n c om p a ra t ive l ys im pl e . W it h t h e a dd e d c om p le x i t y oftoday's world comes an astonishing array ofint e rna l m e c h a nis m s w h ic h w oul d h a ve no

I ll u s t r a t i o n 1 9 9 0 by J a n e W o o d c o c kdoubt baff led the best of our ancestra lhealers.

T h e re is no "s t ra ig h t a nd na rr ow " pa t h t ofo l low for t h e s t ude nt of s h a m a nis m in t h epresent age. T here is no one tra dit ion

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which can reveal a l l the mysteries withw h ic h w e l ive . T h e re is onl y your ow nprocess - your ow n inne r d i re c t ion - to leadyou t o c ont inuous g row t h a nd re c og ni t ion.

T h e m o d e r n " U r b a n S h a m a n " is at adist inct disadvantage . N o t only is i t up toyou t o d e f ine your ow n j ob d e s c r ip tion a ndmeet your own qual i f icat ions; you must a lsoseek out your own educational curriculum,teachers and other resources; and, trackd ow n a nd c h arg e y our c l ie nt e l e s o t h a t youcan afford to support yoursel f. T his bringsup any num b e r o f prob le m s t h a t ne e d t o b eaddressed before y ou can w ork effect ively.

E ve n h ig h l y e vol ve d e nt it ie s ne e d t o e a t.T his fact is a l l too often forg otten in theav id quest for spir i tual atta inm en t. T hes om e w h a t m y t h ic a l s h a m a n o f ye ste ryea rh a d a ve r i ta b le m onop ol y on a c ons t a ntcl ient base. In r eturn for h is services, thec om m unit y fe d a nd c l ot h e d h im , a nd nodoubt offered him other perks as we l l.

T ime s ha ve c h a ng e d . Unl e s s you ha p p e nto be independently wealthy, you wil l needto consider two important factors beforee m b a rk ing on your c are er as a s h a m a n:

1) Y ou d o not h a ve a n e x is t ing c l ie ntba se . A s a m a t t e r of fact, a bout 6 0 % o f th epeople in your community would probablybrand y ou a w itch/w arlock/satanist a nd burnstrange christ ian symbols on your frontporch i f you really rubbed their noses inyour l ifestyle.

2) T here are a lot o f people out therem a k ing g ood m one y by p e r form ing b it s a ndpieces of shama nism, ( i.e., Doctors ,Chiropractor s , Psy chologists , et a l .)C h a nc e s a re t ha t t h e y w i l l prob a bl y notw a nt t o s ha re t h e t ur f w i t h you. T h is c a nlead to all sorts of nastiness about l icenses,malpract ice and misrepresentat ion.

T h e s e c ons id e ra t ions l e ad t o one of t h emore basic choices you wil l need to make.N o t " t o b e a s h a m a n or not t o b e as h a m a n, " b ut w h e t he r t o s ha re t h eex perience or to keep it to yoursel f . Y ouc a n c e r t a inl y w ork a "re a l j ob " a nd c ont inueyour s h a m a nic journe ys w i t h out a ny one e ls eb e ing invol v e d . O r you m ig h t c hoos e avoc a t ion t h a t a ll ow s you t o s e rve yourc om m unit y as a s h a m a n, b ut unde r t h eguise of aT h e ra p is t , C ouns e l or or D oc t or .

A b ov e a l l, i t is im p ort a nt t o m a k e s uret h a t you a re fo l low ing a p a t h t h a t i s h e a l t hyand helpful for y ourself - or you w o n't b ea ny g ood t o a nyone . N o one in t he ir r ig h tmind would accept spir i tual advice from aperson w ho is an o bvious fa i lure in theirown l i fe.

T he Inne r W o r k i ngJ us t as t h e e x t e rna l w or l d h a s b e c om e

m ore c row d e d a nd d e m a nd ing , s o ha s t h eI nn e r W o r l d , t he U n d e r w o r l d w h i c h w ee nte r w h i le in S h a m a nic C ons c ious ne s s .N o l ong e r a re t h e s ym b ols onl y of na t ure ;and, when they are, they may carry quitedif ferent meanings from one person to thene x t .

J us t as a n e x a m p le , w h a t w ould t hefol l ow ing v is ion m e a n t o you?

A w ol f is p row l ing t h roug h t h e s tre ets ofa c i ty . O n l y a f ew p e o p le g l i m ps e i tsp a s s a g e , a n d e v e n t h e y t u r n a w a yunc onc e rne d . I t b e g ins t o m ix w i t h t h epeople, taking on the form of a shadow,a dog a nd f ina l l y a c h i l d . I t w ork s it sw a y i n t o t h e c e n t e r o f t h e c it y , o n l ya p p e a r ing in i t s t rue form w h e n no oneelse can see i t. A t the center of the cityis a g re a t h a l l , f i l l e d w i t h p e op l e a nds urround e d b y e v e n m ore p e opl e w a i t ing



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t o e n t e r . A s y o u w a t c h t h is ma s s o fp e o p l e y o u r e a l i z e t h a t y o u a r e t h ew o l f / s h a p e s h i f t e r , a n d t h a t y o u m u s te n t e r t h e h a l l . Y o u b e g i n t o d a n c ethrough the people and they part to letyou throug h, smil ing at you as you pass.You c om e a t l a s t t o a d a is w i t h a l a rg et h rone . O n t h e t h rone s it s a b e a ut i fulold man dressed in f lowing white robes,passing out wisdom and bless ings to a l lt h e p e op l e w h o h a ve c om e t o s e e h im .A l m os t a s s oon a s you c a t c h s ig h t of h imhe sees y ou as we l l and smiles broadly,b e c k oning you t o j o in h im on t h e d a is .A s you r e a c h h im h e r is es a nd t ak e s yourhands. Y ou can feel h is love for you andhis joy at seeing yo u. Y ou realize that hes ee s your t rue form . A s you w a t c h h im ,h e s h i f t s int o a d oub l e im a g e a nd your e a l i z e t h a t h e is a l s o a w o l f a n ds h a p e s h if t e r - a nd t h a t n o one e ls e inthe crow d can see your true forms.T h is v is ion is t a k e n f rom t h e v is ionque s t

o f a y oung s h a m a n w h o l ive s in t h e c it y a ndh a d ne ve r s e en a w ol f out s ide o f azoo. Itt ook m ont h s for H l r t o unra ve l t h emeanings in each of the images, and, ind oing so,c om e t o a m uc h g re a te runde rs t a nd ing of H l r ow n p roce s s.

Before you can relate to thesy mbols of any one else, youneed to unders tand youro w n .W h e n y o u s pe n d m os t o f y o ur w a k i ng

h ours w i t h p e op l e w h o h a ve no c onc e p t ionof a n Inne r W or l d , i t c a n be d if f ic ult t ova l id a t e t he w ork t h a t y ou d o th e re . Ye t t h einne r w ork t h a t you d o w i l l be your p a t hw a yto understanding. Before you can relate tothe symbols of anyone else, you need tound e rs t a nd your ow n. T h is w i l l m e a n

f ind ing your w a y t o t h e c ore of your ow nInne r W or l d , c om ing fa c e t o fa c e w i t h t h em a nife s t a t ions of your ow n unive rs e , a ndaccepting responsibi l i ty for that wholecosmos and a l l within i t .

W h a t s e c re ts l ie a t t h e h id d e n h e a rt o ft his c os m os ? W h a t oc c ul t d e p th s h a untyou in your ong oing t r ia ls o f l ife ? T h e s e a rethe quest ions that wil l constant ly arise, forthe highest responsibi l i ty for the shaman ist o re m a in t ruly h um a n; t o b e c om pl e t e lyinvol ve d in t h e p roce s s of e v ol ut ion.

T h is is t he c h a l le ng e of t h e s h a m a n; t o b ew il l ing to suspend your disbel ief and stepi n t o a w o r l d i n w h i c h a n y t h i n g c a n - andw i l l - h a p pe n. You m us t b e w i l l ing t orel inquish a l l that you are and have been;let i t become a corpse and rot away,providing fert i le soi l in which your futures e lf m a y b los s om . You b e c om e a n ong oingprocess of l i fe and death, aware o f yourcycles and how those cycles are ref lected ina l l t h ing s a round you. F rom t h e t h rum oft he p ow e r l ine s in a s t rong w ind t o t h ew h inin g p a tt e rns of p ig e ons t a k ing f l ig h t ,from the laughter of chi ldre n aro und anop e n h yd ra nt t o t h e b r ig h t ly l i t s k y l ine , a l lth ings are connected.

W e d o no t l ive in a le ss er w or l d t h a n ourancestors , but a dif fer ent one. A w orld ofstart l ing contrasts , dai ly miracles andimmense possibil ity. A w orld w hichrequires our constant attention to i tsperpetual transformations as we work tobring i t into a greater balance with a l l thathas been and a l l that s hal l be.



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5 23 M a i n S tr e e t Co v i ng ton K Y 41 01 1U f J L l n J t t c j L ( 6 0 6 ) 2 9 1 - 1 9 9 9


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T he Rite oftheMilk oftheStars,mark. 6to replaceThe Lesser Banishing Ritual of the Pentagram S e p t e m b e r 1 9 9 0 , S a m W e b s t e r

T h e Q u a n t u m C r o s sC H A O Sreac hing below, then w ith both arms

sweeping outward unti l overhead and sayC O S M O Sd ra w ing b o t h a rm s d ow nw a rd pa s s ing

h a nds ove r b odyE R O Slett ing arms r ise unti l perpendicular w ith

body, palms do w nN U O Sturning palms upwardsS Y N C H R O N O Sbringing hands together at solar p lexus,

one c up p ing t h e ot h e rA L L A G Ef la ttening hands upon heart .

T he G r a n d C o n jur a t i o nSo also is the end of the work and the

Lo rd A dona i is about it on all sideslike a T hunderbolt p oint ing e as tand a Pylon p oint ing s out hand a Snake p oint ing w e s tand a Phallus, p o i n t i n g n o r t hand in the midst thereof I am

in w h a t S ig n ob t a inslike the Woman that jetteth outthe milk of the stars from her paps;yea, the milk of the stars from her paps.

T he Q u a n t u m C r os sC H A O S C O S M O S E R O S N U O SS Y N C H R O N O S A L L A G E

Schol ionCal l ing the Quarters

F . I . A . T .M . A . A . TA . P . E . P .A . T . O . M

pentagr am in eastpentagram in north

pentagram in westpentagram in south

T h e C o n j ur a t i o n o f t heArchaeB e fore me T H E R I O NB e hind me B A B A L O NO n my r ig h t h a nd H A D I TO n my le f t h a nd N U I T

"the r i tuals shal l be hal f known and hal fc onc e a l e d . . . "

T h is r i tua l e m erg e d out of a profoundne e d on m y p ar t t o no l ong e r w ors h ipJ e h ova h . T h is w ors h ip I c a n no l ong e rj us t ify in l ig h t of t he w a rs a m ong H isfol lowers and equal ly for their intolerancefor t hos e not of t he ir c om m unio n. T o t h isday 1 a m no t ye t c onv inc e d t h a t J e h ova h isnot a n e v i l God .

H o w e v e r , the Lesser Ritual of thePentagram ( L R P ) is one of t he m os t e le g a ntrites in the repertoire of the CeremonialMa g e . T h e h a rm onie s b e t w e e n it s s ym b olsand its effects run very deep and thus it has

M e z l i m - 1 0 - C a n d l e m a s '91


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b e e n of greatus e t o m a g i for ove r onehundred years . I t is the f irs t r i tual learned bymost mag i and so i t has a very specia l p lacein their hearts.

Nevertheless i t ca l ls upon Jehovah anddoes so in a s uppl icat ing a nd sel f- abnegatingm a nne r , inde e d "For T h ine is t heK ing dom ." T his is intolerable for th is self-s ove re ig n m a g e a nd a t h e l e m ic p ag a n s uc has mysel f . T hus, the chal leng e becomes oneof c re a t ing a r i t ua l w i t h a s im i la r de g ree o felegance.

W ha t I mean by this "elega nce" is that inthe L RP there is a regular progressiont h roug h t h e num e ric a l c yc le d ow n t he T reeof L ife f rom #1 t o # 6 , f r o m K e t he r t oT iph e re t h . T h is is e x t e nd e d t h roug h afourfold manner, the direct ions and theelements, as w el l as in the prel iminaryinvoc a t ion, int o t h e num b e r 10. T h us , t heLRP covers and in essence invokes thew h ole T re e, t he w h ole of m a nife s tex istence. T his pattern occurs several t imesthroughout the r i tual reinforcing thisc onne c t ion w i t h t he h e ig h ts a nd t h edepths, the extremes of existence.T h is ispart icularly important as by this me ans isCreat ion recapitulated. In most magickals ys t e m s f rom t h e A b or ig ina l S h a m a nic t ot h e Ur b a n S c h ola r- Ma g i , it is by invok inga nd re c a p i t ul a t ing t h e A c t of C r e a t ion t h a tthe pract it ioners identi fy themselves witht he d iv ine a nd d o t he ir m a g ic k . C a n t his bed one w i t h out c a l l ing up on J e h ov a h ? Ye s.

Be fore w e c a n e nt e r int o h ow t his is d onein the abov e presented r i tual , I w ish toe x a m ine C row l e y's e f for t in c re a t ing t histype of r i tual and discuss why i t did no tserve my purposes here.

First off , I l ike the Star Ruby and oftenuse i t . However, there is a fundamentale l e g a nc e in t h e L R P t h a t t h e S t a r R ub y

does not include. T his is the use oft e tra g ra m a t ons w h e n c h a rg ing t h ep e nt a g ra m s . C row l e y us es T h e r ion, N ui t ,B a b a l on a nd H a d i t . Pa r t o f t h e p ow e r , a s 1see i t , in the L RP is that each of the wordsit uses to charge the Pentagr ams arete tr ag r am ato ns : Y H V H , A D N I , A H Y H a n dA G L A . T he s e ar e fo ur - f old w o rds c ha r g i n gfour things , pro v iding a four- fold balance tothe s ix- rayed star that is formulated in theG r a n d C o n j u r a t i o n . T h is is ag a i n a te n , t heW h o l e T r e e. ( W i t h t h e a d d i t io n o f t he o n et h a t is th e c ol um n w it h in w h ic h t h e S ta rs h ine s w e ha ve 11 m a g ic k . ) F urth e r,Crow ley chose a gendered- biased cross toform ula t e a t t h e o p e ning a nd c l os ing o f t heS t a r R ub y w h ic h m a k e s i t l e s s t h a n w h ol l yd e s ira bl e for w om e n. A l s o i t m a int a ins t h esupplicatory att i tude o f the LRP . Yet I f indthe dif ference between the LRP (especia l lyt he b a n is h i ng m o d e ) a n d t h e S t a r R u b y t obe a s th e d if fe re nc e b e t w e e n a c onv e nt iona lchemical explosion and a nuclear blast .

H ow t h e n t o c re a te a r i t ua l t h a tincorporates the desired formulae,el iminates undesired sy mbol ism, and does soin a m a nne r s upp ortive of s ove re ig nty? C a nwe a lso make this r i te modif iable to theW il l of the indiv idual user, i .e. , can i t bethelemicly open? Yes.

T o b e g in, l et us t a k e a m om e nt t o c la r ifyour not a t ion. A s s um ing your fa m i l ia r i t ywith the LRP, you wil l recal l that i t openswith the Qabal is t ic Cross, the replacementfor t his g e s ture is t he Q ua n t um C ros spre s e nt e d ab ove . W e w i l l g o int o t h em e a n i ng o f t his s ho r tly . T h e L R P n e x tproceeds to the charging of pentagrams withwords of power in each of the four cardinaldirect ions. T his is referred to here as Ca l l ingt h e Qua rt e rs . N e x t t h e A rc h a ng e l s a reconjured in their s tat ions at the Quarters ,here referred to in the Greek mode asa rc hons , t hus t h e C onj ura t ion of t he



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A rc h a e ( us ing t h e Gre e k p l ura l ) . L a s tly , t ore fe r t o t h e f ina l invoc a t ion b e fore t h ec onc l ud ing Q a b a l is t ic C ros s , w e w i ll c a l l i tt h e G ra nd C o nj ura t ion. "G ra nd " re fe rs t oits sum ming up a l l of the forces previouslycal led upon. It is a conjur at ion for i t ca llsw i t h t h e pow e r of Law, "con" = w ith, "jure"= law. T he L aw is that principle s tated att he o p e n in g o f th e G o l d e n D a w n H a l l o fthe Neophytes: "For by names and imagesare a l l powers awakened and reawakened."

T h e Q u a n t um C r os sT h e Q ua n t um C ros s is s o c a ll e d for it is

a n invoc a t ion of t he fund a m e nt a l force sand structures used by magickers . A s s uch itc o ns t it ut e s a W h o l e U n i t . T h is ise x p res s ible in t h e Gre e k as a Q ua nt um . Inpattern i t is very s imilar to the Qabal is t icC ros s . T h is w i ll b e c om e e v id e nt a ft ere x a m ining t h e m e a ning of t h e w ord s ."Chaos " is ex act ly w hat i t looks l ike, thoughI find it best to pron ounce it "K ha- os," w itha short 'ah'. T his is the f oundation out ofw hich a l l comes: A n abyss. Class ical ly, th isis stated in Sepher Yetzerah: "You standbetween an abyss of heig ht and an abyss ofdepth, an aby ss . .. , etc." O ut of absolutedisorder/complete potential emerges them a ni fe s t a t ion o f orde r w h ic h in Gr e e k is"C os m os ". T h is , in Qa b a l is t ic m od e , I v ie was the Tree of L i fe i tself , w hich is , as i t were,t h e M a l k u t h o f t he A i n S o p h A u r , t heL ig h t , w h ic h in t urn is t he e m a na t ion"Chaos," the unpatterned. Form begins withKether. These two words, "Chaos" and"C os m os " cove r t h e v e r t ica l c om p one nt oft his g e s ture , t h e "A t o h Ma l k ut h " p a r t o f t h eQa b a l is t ic C ros s . H ow e v e r , h e re t he y a rereversed in loca t ion as Order is foundedupon Chaos and a l l act ion is descendentfrom Order.

N ow h a ving Ord e r , C os m os , t h e re is

d iv is ion. T h e w h ol e is now d iv id e d forlove 's s ak e for t h e c h a nc e o f union. T h us w eh a ve t h e m e r c i ful p ow e r o f "E ros " , love ,e x p a nd ing t o f i ll t h e C os m os . T h is isbalanced by the dividing, measuring,form ul a t ing p ow e r of m ind : "N uos ". H e ret h e ne op l a t onic in f l ue nc e in Qa b a l a h isbrought t o l ig ht . For in the same way as "ve-G e d ul a h v e - Ge b ura h " e x pres s es t h a t s a m eex pansion and de finit ion process, so doesEros and Nuos . It has been clearlyd e m ons tra t e d h is t or ic a ll y t h a t Qa b a l a h ist h e union of N e op l a t o nic c os m ol og y w i t ht h e H e b re w t he urg ic p ra c t ic e . T h isreformulat ion uses that same pattern, butm ove s it in t o a non- J a h vis t ic f ram e . A g a p eand thelema might be used here, but 1 didnot wish to restr ict them to sephirothicform ula e a nd a t t r ib ut ion.

W h e r e t he Q a b a l i s t ic C r o s s c o n t in ue sw it h "l e Ol a m " or "now a nd fore ve r ," w eh a ve h e re "S y nc h ronos " , w h ic h s ays in onew o r d th e s am e t hi n g : U n i o n o f T ime.T h isbears specia l s ignif icance in the moder n eraw ith C. G . Jung's disclosure of the principleof synchronicity. Magick can be described ast he w i ll fu l m a nip ul a t ion of s y nc hronic it y .

T h e Qa b a l is t ic C ros s c onc lude s w i t h t h ew o r d "A m e n . " T h i s is a w o rd t a k e n f r o mthe Eg y ptian w ord for 'h idden' . I t is a lso then a m e o f th e G o d f r o m w h ic h J e h o v a h w a ss p li t o ff : A m u n ( A m e n ) , t he H i d d e n G o d(remember that the proper sacri f ice toJ e h ova h w a s t h e ra m , t he z oom orp h ofA m un) . In r i t ua l, i t s ig nif ie d a s s ent t o w h a thad been s aid. Yet i t does so by saying eitherthat i t is h idde n, "it is a mystery to me ;" orthat "we w il l kee p it h idde n," i .e., secret .T h is a pp roa c h is p a th ol og ic a l t o m e a ndtherefore inappropriate.

A t t he c onc l us ion t o t his r e c a p i t ul a t ionof t he w h ole of C re a t ion: F rom C h a os , byOrd e r , t h roug h L ove a nd C ons c ious ne s s , for



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A l l T i me c om e s : W h a t ? T h e l as t w o r d he r emust express the essence of Mag ickalact ion. I f Magick is the art and science ofc a us ing c h a ng e in c onform it y w i t h w i ll ,w h a t is m ore ap prop r ia t e t h a n C h a ng eit se lf ? T h us , a g a in in t h e Gre e k w e ha veA l la g e : C h a ng e . T h is w ord is p ronounc e d"al- lah- Y ee." Her e, as thro ug hout this essay,I w i ll l e ave t h e num e rol og y t o t h eindustrious.

T his w ord has a specia l place in thisr itual . A s this word must serve as theessence of Mag ickal act io n, i t really couldbe any word that ex presses the work-at-hand. T herefore, i t is incumbent upon theuser of th is r i tual to replace this w ord w ithwhat ever word encripts the nature of thec h a ng e t h e g ive n w ork ing is t o a c c om p l is h .Because o f the unusual character of th isword, A l lage, and the place that i t holds, 1wil l term al l such words that are intended tobe replaced w ith mor e s pecif ic words inspecia lized w orkings as "Metaw ords." In theMi l k of t h e S t a rs t he re a re th re e s uchmetawords.

To g ive the reader some idea of theenerge tic quality of Qua ntu m cross I presentthe following series of visualizations-observat ions. T hese are observat ionsbecause they are what emerged uponworking this r i tual during i ts creat ion andsubsequent use. T hey are visualizations asthey a lso enge nder the e nerget ic responsethey describe.

A s C H A O S is c a ll ed u po n f r om b e n e at hthe pract it ioner, visualize a crack y aw ningopen beneath your feet , the opening of theGa t e s of H e l l . T h is is t he re a l m of C h a os ,substance unforme d by intel ligence . O ut ofit, at your bidding, rises the substance ofChaos , cacoastrum, w hich I see in thel ikeness of prismatic darkness. G ra b hold ofthis and, swinging your arms outward and

upw a rd a t t h e e x t e nt of t h e ir re a c h , w h ir lthe cacoastrum around your body in an arca nd ove rh e a d unt i l y our h a nd s m e e t a ndy ou say : C O S M O S .

Here, in the Heavens, the unpatterned isg ive n orde r a nd t urns int o b r i l l ia nt a nds c i n t il la t in g L i g h t or L U X . D r aw t hi s d o w nfrom overhead through your body, breathingi t in . C onn e c t t h is v e r t ic a l l ine w i t h t h eG a t e b e l ow you, t a k ing root in t h e V oid .Now , immersed in L ight, a tte nd to y our self-compassion and feel that Love, let i t expandout w a rd- f i l l ing the Cosmos. Real ize thatyour h e a d is a bove t h e H e a ve ns a nd yourfeet below the Hel ls ; and, in you they areO n e . N o w le t t he e x p a n d in g w a v e o fcompassion ra ise your arms unt i l they areperpendicular to your body's axis, palmsd ow nw a rd , a nd v ib ra t e E R O S . F ind ing t hep oint o f ba l a nc e in t h e m id s t o f yourcompassion, rotate your hands unti l thep a lm s fa c e upw a rd a nd v ib ra t e N U O S .Br ing your h a nd s t og e t h e r unt i l t he y form aC up at the w aist, solar p lex us or nave l .H o l d ing t h e Unive rs e in your h a nds , v ib ra teas the y c om e to g ethe r S Y N C H R O N O S .Flatten this cup against your breast, bringingint o your H e a rt t h e Unive r s e you h e l d; a nd ,b e ing t h us uni t e d w i t h t h e C re a t or- C re a tr ixo f A l l a n d w i th t h e A l l o f C r e a t i o n , in o rde rto begin therein and within yoursel f thepr oce ss o f c ha n g e , spe ak A L L A G E . N o w , sounited with the Divine, proceed throughthe rest of the ritual.

A s an as ide, in the L ammas '90 issue ofMe z l im , t he re w a s a n a r t ic l e on a t a nt r icbanishing r i tual which mentioned that inusing the LRP, one was instructed to changeany part of i t as required ex cept for theopening and closing. 1 presume this refers tot h e Qa b a l is t ic C ros s . T h is unfoot not e dreference is most pecul iar to me as I havenever seen in a l l of the mag ickal l iteraturethat I have read any hint of suggest ion that



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a ny one s h oul d c h a ng e t h e L R P in a ny p a r t ;nor h a ve I e ve r s e e n a ny in j unc t ion not t oc h a ng e t h e op e ning a nd c l os ing . I c a l l up ont h e a ut h or of t h a t a r t ic le t o p ub lis h h is orher sources. A s far as I know , that r i tual is ,w i t h m inor v a r ia t ions , fa ir l y c a nonic a l a ndus ua lly t a ug h t as unc ha ng e a b l e . W h i l e 1agree that any part of any r i tual is quitec h a ng e a b l e , I , for one , w oul d l ik e t o k nowof any tradit ion that instructs i tspract itioners to chang e such a r i te.

C a l l ing the Q ua rtersT h e ne x t m ove m e nt in t h is r i t ua l

formula introduces, and for the most partdetermines, w hether the r i te is ca l led Lesser,Gre ater, Supreme or otherwise. L et us take amoment to discuss this terminology beforec ont inuing t h e dis c us s ion of th e M i l k of t h eS t a rs . F or t h e s a k e of not a t ion w e w i l l c a llthe process of ma king a "Lesser" r i tual int o a"Greater" r i tual (and so on) "elevat ing" the"class" of the r i te. T he dete rm ining factorhere is how muc h effort is being put in tocal l ing the quarters ; a l thoug h it should benoted that addit ions are often made to theG ra nd C o nj ura t ions as w e l l, w h e n t h e cla ssof the r i te is elevated. T he purpose of th isprocess is to increase the power of the rite.T h is is d one b y inc re a s ing t h e num b e r oft h ing s invok e d d ur ing t h e r i t e , br ing ingmore force to bear, as i t were, upon theobject of the r i te. T his a lso serves toincre as e t h e a m ount o f a t t e nt ion t h epract it ioner must maintain in the r i tualwhich further increases its power. Perhapsthese are one and the same thing.

Elevat ing the c lass of the Lesser Ritua lo f the Pentagram is done by f irs t replacingthe Earth pentagrams that are drawn ateach of the quarters with pentagrams ofe a c h of t he four e l e m e nts . A l s o inc lud e d a tthis point are the "grade signs" or gestures

made in the characteris t ic posture of ad e i typossessing in some measure the nature oft h e e l e m e nt . T h is rais e s t h e c la ss of t h e r i t et o t h a t o f t he G r e a t e r R i t u a l o f t h ePe nt a g ra m .

Ma ny fo l k h a ve l ook e d a t C row l e y' sLiber O in Magick in T heory and Practiceand not recognized the impl ic it instruct ionsc o n c e r n i ng t h e pe r f o r m a nc e o f t h e G R P .T his is because i t w as assumed that thep ra c t i t ione r w oul d k now t o m a k e t h enecessary replacements in the LRP torender i t of the greater c lass .

T h e p oint m us t b e m a d e he re t h a ta l thoug h no t a l l publ ished rubrics of thesepentagram and hexagram rituals includem a k i n g t h e S i g n o f t he E n t e r e r o r t he"Proj e c t ing S ig n" w i t h t h e w ord p roj e c te dint o t h e pe nt a g ra m or he x a g ra m t o c ha rg eit , I assume that th is is done . I hav e notedthat some schools do not teach the use ofthis a l l impo rta nt g esture. T his is , to mym ind , a w i l l fu l m inim iz ing of t h e p ot e nt ia lpow e r o f these r i tes . T his s ign is thep r inc ip le m e t h od for e m it t ing t h e e ne rg ie sto be used here with the pentagrams andhexagrams, and a lso elsewhere when a l lmanner of ta l ismans and tools are charged.So important is th is gesture that i t isim m e d ia t e l y t a ug h t t o t h e N e op h yt e s of t h eGol d e n D a w n up on t h e ir in i t ia t ions .

T he same process of elev at ions occurswith the hexagram rites , a l though there area few f ine r s ha de s of d i f fe re nt ia t iona va i l a bl e . T h is is in k e e p ing w i t h t h es ym b ol is m as t h e h e x a g ra m c ove rs t h e 6 , 7a nd 8 - fo ld d iv is ions of t h e unive rs e t o t h epentagram's 4, 5 and 6, rendering a furtherre f ine m e nt of pre c is ion. W it h the LesserHexagram Rite t h e e l e m e nt a l h e x a g ra m sare c lass ically dif ferentiated. Reg ardiep rop os e d a n innova t ion us ing t h e Unic urs a lH e x a g ra m of S a t urn t h ro ug h out t h e r it e .



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W h il e t h is m a y a p pe a r t o b e l ow e r ing t h e"class" of the r i te, being that i t is aninvoc a t ion of S a t urn, i t is op e ra t ing in t h eplanetary scale and thus above that of theelements. Reg ardie's use here may becompared with the use of the Earthp e nt a g ra m in t h e L R P, b e ing h ig h l ygeneral ized and cov ering, as it w ere, for a l lof the planets . T h e G r e a t e r He x a g r amRite involves the use of the dif ferentiatedp la ne ta ry h e x a g ra m s w i t h t h e s a me op e ninga nd c l os ing a s t h e L e ss er , t h e I N R I or t h eA B R A f or m ula e.

O n e e l e m e n t t ha t w e se e i n the GreaterHexagram w h ic h w e d o not s ee in t h epentagram rites until that class referred to asthe "Supreme," is the drawing of as igil inthe center of the hex agr am. T his is used tofurther dif ferentiate the force invoked bythe gesture and f igure tha t is the hex agram.H ow e v e r , t he re is e v id e nc e t h a t t h e S t e l l aMatutina used the Kerubic s igns in theGreater Pentagram. O ne fur th e r d if fe re nceb e tw e e n t h e Pe nt- a nd H e x - a g ram r it es ist h a t t h e he x a g ra m s a re d ra w n w h il ev i br a t in g A R A R I T A a n d t he n cha rg e d w i t hthe w ord of power for the respective planet.

W h a t m ove s t h e cla s s of a rite stil lfurther (such as in the "Supreme" Rite oft h e H e x a g r a m or Pe nt a g r a m ) is a d d inganother layer of symbols during the cal l ofthe quarter, or in hex agram terms, thep la n e t . W i t h the Supreme Hexagram Rite,the pentagram with relevant s ig i ls andgestures is drawn in reference to theelement of the Zodiacal s ign in which theplanet is s i tuated at that t ime. T hisnaturally a lso invok es the zodiacal force asw el l , the purpose o f th is "Supre me" form .

In the Supreme Pentagram Rite, theSpir it pentagram is draw n before thee l e m e nt a l p e nt a g ra m , b ot h w i t h re l e va nts ig ils and gestures. A lso words of power are

v ib ra te d d ur ing t h e s e ve ra l d ra w ing s . T h e reis one p oint o f c on t e nt io n a b out t h e g e s tureg ive n d ur ing t h e S p ir i t p e nt a g ra m .R e g a rdie's S t e l la M a t ut ina ve rs ions ind ic a t et he us e o f th e L . V . X . s i g ns , w h i le C r o w l e ym e nt ions t h e P ort a l s ig ns of t h e R e nd inga nd C l os ing of t he V e i l . T h is l a tt e r isattr ibuted in the Porta l r i te to the Spir itpentagrams . It is my preferred mode as thefol l ow ing d e s c r ipt ion m a k e s p l a in :

W i t h t h e f o r m i ng o f t h e S p i r itp e nta g ra m , t h e "Ga t e o f t he E l e m e nt " isf o r m u la t e d. W i t h t h e r e n di n g o f t he V e i l ,t h e G a t e is op e ne d. T h e E l e m e nt a lp e nt a g ra m is t h e n d ra w n b e yond t h e Ga t ein t h e R e a l m of t h e E l e m e nt a s a b e a c ons um m oning t h e b e ing s a nd forc es of t h ee l e m e nt . T h e Gr a d e S ig n is g ive n in s a l ut eto the approaching forces, indicat ing thepract it ioner's being of the godly nature oft h e e l e m e nt . I t ha s b e e n m y e x p e r ie nc et h a t t h is form w ork s be t te r for m e t h a n t h eL . V . X . m o de .

O n e o t he r r i t ua l , L. Vav vel Reguli , Iconsider also of this class due to its use ofdance and an elaborated opening andclosing. I t a lso uses reference to a K ibblahor pow e r s p ot . H ow e ve r , t he re is s om econtrovers y w ith i ts c lass if icat ion as suchbecause i t only uses one pentagram in eac hquarter. Nonetheless, that pentagram, beingaverse, to m y mi nd const itutes a specia l casethat, with the general energy and purpose,quali fy i t for the "Supre me " class . T his isbest s tudied in Crowley's notes fol lowingthe rubric in Magick in T heory andPractice a n d i n m y o w n Libe r L A S h T A L .A s t i ll m ore d ire c t a nd r e c om m e nd e dsource is the rite itself.

Last ly, there remains one further c lass ,t h a t s h ow n b y t h e W a t c h t o w e r r i t ua l w h ic hReg ardie speaks of in his C ere monialMagick. Her e the principle elabora t ion is



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the orisons, prayerful speeches added at thequarters and in the center to further exultthe consciousness of the practitioner . I referto this as a separate class because it buildsupon the "Supreme" formulae in a dist inctway, using orisons or prayerful speeches atthe quarters and elsew here. Ot he r ex amplesa re t h e B o r n le s s r i t e , or L i b e r S a m e k h a n dt h e R i t u a l o f t h e S e c r e t D o o r s , w h ic h w aspublished in the Beltane '90 issue ofMe z l im .

N ow t o t h e m e t h od us e d in t h e Mi l k oft h e S t a rs . By t h e a bove d e s c r ipt ion t h eM il k of t h e S t a rs is p l a in l y o f t he c la ss ofthe Lesser pentagram rites . T he pentagramsare draw n in a widdershins c irc le to increaset h e outw a rd f l ow ing c urre nt. I t w a s mye x p e r ie nc e in t h e d e ve l op m e nt of t h is r i tethat the c leansing, purifying f low wasinadequate w hen this was performed deosi l .

T he words chosen are a l l tetragramatonsfor the reasons note d above. T hey are a llm e n t io n e d e x p li ci tl y i n t h e H o l y B o o k s o fT h e le m a e x c ept f or A T O M . T h is is acorrected spel ling o f T urn, re t urning i t t othe Egyptian from the Brit ish by includingthe init ia l g lotta l s top and re storing i tsm e a n i n g ast he U n d i v i d e d O n e , w h ic ht h roug h t h e Gre e k s w e h a ve inhe r i t e d as"atom."

B e g inning w i t h t he E a s t , w e c om e t o ours e c on d m e ta w o r d . A l t h o u g h F . I . A T .a p p e a rs in L . A ' a s h ve l C a p r ic orniPne um a t ic i in a m a nne r m os t fa vora b l e t othis wor king, I see its func tion both thereand here as a place holder for theT e t ra g r a ma to n o f t his A e o n : D o W h a tT hou W il t , the secret four- fold word that isa blasphemy against a l l the gods of men.T hus, here i t serves as a metaword, and it isappropriate for pract it ioners to replace i t bythe "tetragr amaton" of their choice. Duringt h e op e ning of T e m p l e E noc h i t h e w ord

'Eno chi, ' spelled A NK 1 , w as so used."Fiat" in L at in means "so shal l i t be," as in

"Fiat L ux ", "let there be l ig ht ." T his is theW or d , t he L og os , a nd t hus , A i r . I ts a c t ion isas that o f a T h und e rb ol t out of t h e Bl ue , a sw i ll be e x pre ss e d in t h e Gr a nd C o nj ura t ion.

M A A T is E g y p tia n f o r T r u t h, r e c tit ud e ,accuracy and the s ubstance of m agicalpow e r in t h e s a me w a y as t h e G . D . re fe rs t oL . V . X . T h us , i t is E a r t h e l e m e nt a ll y , as t hisis w h e re t rut h c om e s int o b e ing , w h e reaccuracy has meaning . Its act io n is as thato f aPh a ll us , p rov id ing t h e a c t ive h a l f o f t h ef o r m ul a o f G i v i n g B i r t h .

A P E P is th e S e rp e nt of t he D e p t hs , r is ingup out of t h e w a te rs of t h e D ua t , t h estainless abode, and is figured in thism a n n e r i n t h e G r a n d C o n j u r a t i o n . T h eS na k e is t h e e m b l e m of pow e r a nd h e rerefers t o W a t e r in t h e s a m e w a y a s w a te ra nd p ow e r a re d e s cr ib e d in t h e T a u T eC h ing ; "e ve r f l ow ing s e e k ing i ts ow n l e ve l ,nourishing a l l th ings yet remaining i tsel f ."

A T O M is t he N a t ur e o f B e i n g , a n d as th ew h o l e o f M a t t e r is E ne r g y ( E = m c 2 ) , A t o mis Fire. It is the pil lar es tablished in t hevo id as i t is the beg inning o f being or order,C os m os , out of t h e C h a os . I t is Ke t h e rbefore the rest of the Tree was formed. It isH a d i t c ry ing , "t he re is no g od w h e re I a m "I t is t he O ne , form e d in t he m id s t o f C h a osor the void- of- form, before divis ion into them ul t i tud inous Unive rs e .

I t m ay b e not e d t h a t t his c ol le c t ion oftetragramatons and symbols include bothsexes, animate and inanimate powers, therepti l ian and mammalian races, and bothenergy and matter.



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T h e C o n j ur a t i o n o f theArcha eT he B eings cal led upon in the same place

as where one w ould cal l upon theA rc h a ng e l s in t h e L R P a re he re s im pl ycal led Ar chae (s . arc hon). "Ar ch,"pronounced "ark," in Greek means the f irs tor the beginning, thus "in the beginning" is"en arc h." T hus these Beings are principles;sources of cer tain qualities or natures.T ogether, I see these four as divided into

I l lu s t r a t i o n 1 9 9 0 by R A Gt w o t ype s : T h e r ion a nd B a b a l on op e rat e ont h e H um a n s c a l e , a nd N uit a nd H a d i t onthe Cosmic scale.

T H E R I O N I e nv is a g e in a n e m p ha t ic a l lym a l e form w it h a horne d , m a m m a l ia n h e a d(a species of com bined bul l and g oat) . Hisbrow is emblazoned w ith a burningthunderbolt reminiscent of the torch on theh e a d of B a p hom e t .

B A B A L O N 1 s ee as a w om a n re c l iningupon a couch and colored entirely red. She



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is h ug e , t h e t op of H e r h e a d is t w e nt y t othirty feet off the g round l e ve l on w h ic h Istand, w hich is a lso the level o f the surfaceo f H e r c o u c h. A r o u n d H e r t w i ne s t heS e r p e nt A p e p . Ind e e d , in H e r is a l l p ow e rg i v e n .

In m y und e rs t a nd ing of T h e r ion a ndB abalon, they functio n as the current god-form s of t h e t h e l e m ic m a g ic k a l c oupl e inm uc h t h e s a m e m a nne r as t he t a nt r ic s h a v eforms for their pr act ic ing couples to take.In terms of the att i tude he ld by some thatC row l e y, t h e m a n, w a s T h e r ion a nd is t h eo n l y o n e w h o is T h e r ion, t h isp a rt ic ula r iz a t ion of t h e a ll us ion in L ib e r A Lto the beast and the scarlet woman wouldrender the tex t va lueless for any one elseb ut C row l e y. A s m y e x p e r ie nc e ha s s h ow nm e t h a t t h e Book of t h e L a w h a s p rofounduse for pract it ioners of the mag ickal art , Ibel iev e this a tt i tude to be erroneous.H ow s oe ve r , w h e n t a k e n a s A rc h e typ e s , t he ybecome powerful forms for embodying thecurrent of thelema.

N U 1 T I ima g e in t h e form s e en on t heS t e l e of R e v e a l ing , as a n ov e ra rc h ingw oma n in dark blue, f lecked w ith stars . T hisimage is s im i la r t o H e r form on t h e A e o nc a rd of th e T h ot h D e c k . A l s o I se e a n e re c tPhal lus r is ing up in the space over w hichS h e is a rc hing m uc h l ik e a vul va .

H A D I T 1 v isualize as a winge d g lobeH E R M E T I CSOCIETYOF THEG O L D E ND A W N jM . . jnf I ,>


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d is t inc t ions w i t h in m ys e l f in t h e p re v iousl ine, and, in effect , throughout the rest ofthe r i tual .

In one sense, th is r i tual is not ab a nis h ing , b ut a n op e ning up t o t h einhe re nt w hole ne s s of existence.T h is iswhat removes a l l of the interference that isbeing experienced by the pract it ioner.H ow e ve r , h e re t h e m e t a p h or is not achasing away of the "baddies," but a hea l ingof A l l . T h is r i t ua l is a m a p of t h e re t urn t ot h e W h o l e , t h e H o ly .

T h e Q u a n t u m C ros s (repeated)A t la s t w e com e t o t he f ina l Q ua nt um

cross, a re petition o f the earlier gesture. Forthose w ho w ould prefer a mode o f speechm ore g ra m m a t ic a l t h a n t h e s t ra ig h tspeaking of the forces invoked, I g ive atransl iterated ver s ion of the same as as e nt e nc e , one h op e full y g r a m m a t ic a l lycorrect , as my Gr eek is imperfect as yet . T heGreek was orig inal ly chosen for th is taskdue to its s imilarity to the E ngl ish. T hus:

ek Cha os , e is Cosm os , d ia Eros ka iN nos , en Synchron os es t i n A l l age,

orO u t o f C ha o s , I n t o O r de r , T h r o ug h L o v e

and Consciousness, In Eternity, Is Change.

Co ncl u sio n"A nd s o is t h e e nd of t he w or k . . . " T o

w hat purpose do w e do these r i tuals ,throw ing stars at the w alls? I see this as thet uning of t h e s phe re of e ne rg y t h a t d w e l lsaround the body. For good reason is thiscal led the Aura, from the Hebrew "aur," orl ig h t . W it h t he Mi l k of t h e S t a rs , t he re is ac e r t a in m e l d ing of t h e L e ss er B a nis h ing a ndInvok ing m od e s of t h e Pe nt a g ra m .Nonetheless , i t seeks to accom plish the f irs tM e z l i m

task: M ak ing space for us to operate in, aspace o f place a n d a s pa ce o f m i n d . W e c a nmodel the aura l ike magnetic tape that isf i l led w ith stat ic or a f loppy disk that isunforma tted and unreadable. T hroug h r itesl ike the banishing r i tuals , we step up theenergy around ourselves un ti l the stat ic iss m oot h e d out int o a s ing l e c oh e re nt f ie l d orthe f loppy is ful ly erased. T his physicalprocess is technically called degaussing.T h e n, w i t h t he invo k ing r i t e s , w e w r i t e tothat tape, that disk, that auric- f ield w hat wew ish to be there.

On c e w e ha ve e s t a b lis h e d w i t h inourselves (and surely our auras are part ofourselves) any g iven pattern, synchronicitybegins to work. By means causal or non-causal , the v erdict is not in o n this ; thatw h ic h w e g ive m e a ning a nd v a l ue t o is , as i tw e re , a t tra c t e d t o us . T h us , w h e n w e invok eFire, fiery occurrences happen around us.W h e n w e i nv o k e J u pi te r , j o v a n t h in g soccur; L ibra, l ibran; and so on. T hus, theser i tual s a re t h e f und a m e nt a l a rm ory of t h eMag ick of L ight. T herefore, i t is essentialfor each o f us to appropriate those r ites thatin our judgment are good, and purge thema c c ording t o our ow n ins ig h t . T h e n ind e e ds h a ll t h is K now l e d g e g o a r ig h t .

h

- 1 0 - C a n d l e m a s ' 9 1


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PA RA T HEA T RICA L RESEA RCH:The MiraculousInteraction of Se lf

Governing Bodiesby A n t e r o A l i i

Miracles happen. I am not soc onc e rne d w i t h t h e "w h y" as I a m w it h t hehow, specif ica l ly: Ho w to replicate thosecondit ions wherein the miraculous canoc c ur w i t h in a g roup d yna m ic . A s d ire c t orof Pa ra T h e a tr ic a l R e s e arc h of Seattle, I leadindividuals in the process of desig ning theirown r ituals for tr iggering miraculousinteract ions. T hey are miraculous insofar asthey invoke (by sound and word) and/ore vok e ( b y fe e l ing a nd m ot io n) a s t rongint e rna l c ond i t ion of ve r t ic a l s t a b il it yaffording external , horizontal expression.

In his book, T he Gospel of Re lativity( H a rp e r & R ow , 19 7 3) , W a l t e r S t a rc k e us esthe term "double v is ion" to describe amystical s tate a l lowing for a s imultaneousawareness of v ert ical , or spir i tual bo nding,and its outwa rd, or horizontal , t ransmissiont o t h e w or l d of others. A s S t a rc k e pointsout, the horizontal realm refers to al linteract ions with others , society and "theworld at large"; as the vertical refers to one'sinternal connection with the "stars above,the soul w ithin and the Ear th below ." It ismy assumption that the intersect ionbetween the absolute (vert ical) and therelat ive (horizontal) realms is as close as weget to the miraculous ins ide the humanc ond i t ion. W h e ne ve r ind iv id ua l s int e ra c tw i t h e a c h ot he r f rom a p oint o f v e r t ica lintegrity, the result is often phenom ena l .

T here is a cultural i l lus ion to

"miraculous pheno me na." Miracles canappear absolutely phenomenal when we'res t i ll unde r t h e in f lue nc e of c ond i t ione dt a boos a g a ins t s e l f- g ove rnm e nt. W h y ?V er t ical s tabil ity implies a s teady rel ianceon one's o w n spir i tual sources forinspirat ion. A s many spir i tual mavericksrealize, this often necessitates a completere j e c t ion of a ny e x t e rna l d og m a , s poon- fe dreligion and/or imposed belief systemw h a ts oe ve r in fa vor of gnosis, i .e . , f indingout for one s e lf . O nc e t h is e x p e r im e nta llearning style is establ ished, i t natural lyencourages the development of realautonomy in individuals , and, whenpropagated in col lect ives, the emergence ofsubcultures.

Miraculous interact ions are not fore ve rybody. N o t e v e ryone ha s t he t im e ,c om m it m e nt a nd e m p a t h y for s urre nd e r ingt o t h e ir p ie c e of t h e d iv in i t y a nd s h a r ingt his w i t h t h e w or l d a round t he m . T h os ethat do must face and l ive w ith a terr ible yetul t imately l iberat ing truth: Our localconsumer- oriented society is lockjaw ed intoa non- stop, horizo ntal feeding frenzy...as wehave been condit ioned to "need" constantexternal confirmations of internal security,status, reality maps and socio- moral ethics.

Bey ond the necessity for confessing thecultural nightmare, the init ia l task ofengag ing the m iraculous usually s tarts w iththe shock of undoing onesel f . . .ofdisma ntl ing the social ly- accepted vers ion ofonesel f to reconstruct a more ver t ical lyresonant model of being. (See: Dr. C . S.Hyatt 's outrageous book, Undoing Yourself,and our joint project , Pregnant Univers e;both by Falcon Press.) Two tradit ionalgateways for re stabiliz ing ve rt ical r el ianceare: 1) Enforced S ol itude, and 2) Int imacy



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w it h V oid . .. t w o forms of s e ns e - d e pr iva tion.Inducing ve rt ical resonance presupposes

a k ind of internal dependence or, abi l i ty andwill ingness to realize one's non-responsibil ity to others as a dev ice forintensify ing sel f- commitment. Init ia l ly , th isacts as an anx iety- producing socia l shockunt i l people are assured of i ts va lue inc ont e x t t o future int e ra c t ion. ( T h e s oone rthis is demonstrated, no matter how smal lthe example, the sooner the group learns totrust the precarious yet v a luable process ofund oing . ) Int e rna l d e p e nde nc e a im s todisconnect one's atte ntion fr om thee x t e r na l e n v i r o n m e n t b y r e c o n n e c t in g i tins ide the body. (See: Ze n Mi nd ,Be g inne r ' s Mind b y S uz uk i ; Pr inc e t onPress.)

Mos t socia l gatherings promise rew ardslike emotional security, personal status,philosophical discourse, and/or courtshippotentia l to gather and keep peopletogether. W he n these "pay ments " arereplaced by a more austere, asocialint e nt ion l ik e s e l f - c om m itm e nt , s ocialex pectat ions suddenly col lapse a nd seekanother reason for being. People want tok n o w w h y t he y a r e m e e t i ng . T h e te r m"aso cial" differs from "anti- so cial".. . theformer implying sol i tude in service ofinteract ion, while the latter carries more"so ciopathic," isolat ionist intentions .

A n asocia l inte ntion ca n be socia llysanctioned by an open group pledge stat ingthat: Every body is responsible for their ow nsafety and crea tive process. T his releasespeople from the obl igat ion to seek or g iveassurance, approval and other "considered"socia l conventions in l ieu of an a l ternat ivepurpose for being together. Eac h indiv idualagrees to s tabil ize their ow n energy andw ork t ow a rd s a c re at ive s t a te o n t h e ir ow n,as a p re pa ra t ion for int e ra c t ion. W h e n i t is

understood from the start that the group isw ork ing t ow a rd s c ul t iva t ing a n a s oc ialc l im a t e for g roup r it ua l int e ra c t ion, t h eground is set to invite the miraculous.

In our g roup wo rk, th is process starts aseach part ic ipant relates to the space of thes e t t ing b y m oving t h roug h i t , w h i l ep hys ica ll y c om m unic a t ing t h e ir s p a t ia la w a re ne s s as th e y g o. E ve ry b od y m ove sacross the f loor in their own way, at theirow n pace, responding to the space i tsel f .T h is g oes on for a b out t e n m inut e s . On c ethe space itself has b e e n e m ot iona l l ysancti f ied as a va lue, each part ic ipantl oc a te s a re g ion w i t h in t h e s e t t ing t o t ak et e m p ora ry d om inion ove r . E ve ryone f ind stheir own spot on the f loor.

People put their terr i toria l inst incts tow ork b y ow ning t he ir s p ac e , m uc h l ik eanimals s ta lk and cla im turf . T he purposeof t his a nim a l a c t is t o c onc e nt ra t e a ndcontain one's attention ins ide theboundaries of one's "spot" to build anuninterrupted focus for nourishing internaldependence. In our r i tual process ofintentional terr itoria l i ty, we've discoveredidiosyncrat ic motion to be most effect ive fortaking charge of one's personal space. Ita ppe a rs t h a t a m ov e m e nt t ru ly inhe re nt t oonesel f is a k inet ic s ignature more dif f icul t

O p e na m t o 7 p mW e d n e s d a y t o

S u n d a y

S p e c i a l i z i n g i n w i c c a , m a g i c k , s h a m a n i s m ,celr ic lore , herbs, channel ing, Egyptian, crysta ls ,

books, tapes, suppl ies, jewelry , & tarot decks.34 c o tt age st. (rt . 14 1) b ox 10 22

e a s t h a mp to n, M A 0 1 0 2 71 - 4 1 3- 5 2 7- 8 7 65



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to dupl icate, forge and thus gain entry to.S inc e t h is a p p roa c h t o r i t ua l- m a k ing is

g e ne r ic ( t he re is no d og m a s ave for a k ind ofl ibertarian adherence to individualintegr ity) , i t rel ies heav i ly on self-c o m m i t m e n t . T h e o p po r t u ni ty t odemonstrate this is prov ided in the phys icalw a rm - up c ycle s w h ic h a re d e d ic a t e d t ofeel ing the body deeply. Eve ry one designst he ir ow n c ond i t ions for e nt e r ing a k ine t icc re a t ive s t at e by fu l f i l ling t h e fo l l ow ing fourob je c t ive s , in

[Vol.1,No.5] Mezlim - Candlemas 1991

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Transcript of [Vol.1,No.5] Mezlim - Candlemas 1991