Teem member Richard Gavin has a new book coming out this summer from Theion Publishing — and it’s nonfiction. Richard, as you know, has built a major reputation in recent years as a writer of exquisite weird fiction in a darkly esoteric and philosophical vein, and this book promises to be a kind of nonfiction distillation and amplification of the concepts and viewpoints that animate his stories. Here’s the scoop from the publisher:
Twisting beyond the placid boundaries of civilization is an ancient path. Its stalkers do not march the linear road of human progress but instead orient their souls to the luminous, haunted darkness of the Night Primeval. Many have glimpsed this realm, when sleep has delivered them onto the back of the charging Night-Mare, and recollections of these brief visitations survive in countless tales of terror and in the folklore of locales rumoured to be fey or cursed. Rare, however, is the individual who willingly pays the tariff and passes irretrievably through that twilight of existence in order to become Benighted.
Drawing upon the shadow aspects of a variety of traditions, including the khabit of Ancient Egypt, the Biocentrism of Ludwig Klages, Aghora, the Gothic, and David Beth’s pan-daemonic Kosmic Gnosis, all distilled through the author’s praxis, The Benighted Path explores the breach through which the egoic self is slain in order to unleash the aspirant’s true Monstrous Soul. Only then may the Benighted offer their adoration to the Gorgon and partake of the Sidereal Feast.
While waiting for the book’s release, you could do worse than to read the entries in Richard’s column “Echoes from Hades” here at The Teeming Brain:
- “Deep Shadows and Numinous Horror“
- “To Suffer This World or Illuminate Another? On the Meanings and Uses of Horror“
- “In Praise of Horror that Horrifies” (the most popular and widely linked of these essays)
- “Art, Mystery, and Magic: A Fireside Chat with Don Webb“
- “Coins for the Ferryman: Horror as the Key to Our Dark Inner Depths“
- “Womb of the Black Goddess: Horror as Dark Transcendence“
Image: One of Doré’s illustrations from Dante’s Inferno. Public Domain via Wikimedia Commons.
During the recent NecronomiCon 2013 — a conference of all-things Lovecraftian held in HPL’s beloved Providence — I participated in a panel on weird fiction. During the lively and interesting discussion, the opinion was expressed that much weird or horrific fiction seems to be written from a “bleak existentialist perspective.” While that may well be true, I was nonetheless struck by how this perspective is anathema to my own.
A survey of the genre may well support the notion that those who create or consume Horror art are a minority of grim realists who have come to accept, and even revel in, the myriad miseries of life on Earth. Their art could be seen as a cry against a society dominated by sun-blinded optimists who waltz blithely through life, convinced of its innate order and pleasantness.
But I suggest that the situation is far more layered than this.
I do not personally write from a bleak perspective, for this implies a state of powerless frustration over a set of natural and societal laws that hold the human species in their thrall. My fiction is a celebration of transgression of all laws, of transformation, and ultimately of transcendence. It is not a nihilistic lament. Read the rest of this entry
Teem member David Metcalfe is the featured interviewee on the latest episode of Occult of Personality, the long-running and very excellent podcast from host/producer Greg Kaminsky that “peers behind the veil to provide recorded interviews with serious esoteric researchers and teachers from all over the world.” The topic is the intersection between parapsychology and esotericism, which, as readers of David’s Teeming Brain column De Umbris Idearum already know, he is well-qualified to address.
Part One of the interview is available for free streaming and downloading. Part Two is available in Occult of Personality’s membership section (which you are encouraged to join). Here’s Greg’s intro:
Researcher, writer, and multimedia artist David Metcalfe is our guest in podcast episode 132.
David Metcalfe is an independent researcher, writer and multimedia artist focusing on the interstices of art, culture, and consciousness. He is a contributing editor for Reality Sandwich, The Revealer (the online journal of NYU’s Center for Religion and Media), and The Daily Grail. He writes regularly for Evolutionary Landscapes, Alarm Magazine, Modern Mythology, Disinfo.com, The Teeming Brain and his own blog The Eyeless Owl. His writing has been featured in The Immanence of Myth (Weaponized 2011), Chromatic: The Crossroads of Color & Music (Alarm Press, 2011) and Exploring the Edge Realms of Consciousness (North Atlantic/Evolver Editions 2012). Metcalfe is an Associate with Phoenix Rising Digital Academy, and is currently co-hosting The Art of Transformations study group with support from the International Alchemy Guild. Metcalfe’s most recent project is a collaboration with Dr. R. Andrew Chesnut, Chair of Catholic Studies at Virginia Commonwealth University, exploring the sanctification of death in the popular faith traditions of the Americas.
He has emerged as one of the leading independent researchers in his field. I find his writing both accessible and insightful. The respect and reverence with which he treats his subjects makes his work even more special. I think this is crucial to David’s success and one of the reasons why I wanted to have him on as a guest.
Dr. Angela Voss is an expert in mythology, astrology, and Western esotericism. She’s also one of the two editors of Daimonic Imagination: Uncanny Intelligence, whose imminent publication I recently talked about here. In conjunction with that post, she has asked me to help spread the word about an exciting new graduate program in these subjects that she has helped to create in the UK. Conveniently, this is a request that plays right into my already-existing plans, since I was planning to mention the new graduate program at some point anyway! In the past few months I’ve seen various announcements and updates about its development and planned launch in January 2014, and have thought the whole thing looks and sounds quite fascinating.
As you’ll see from the following description, the program also lands right in the middle of the same territory explored not only by the Daimonic Imagination book but by portions of this very blog. I urge you to click through the title link below to the program’s page at the Canterbury Christ Church University site, where you can read more details on the specific subjects to be covered. Items that leap out at me personally include “”The nature of mythopoeic thought: symbol and metaphor,” “Renaissance art and theurgic magic,” “Jung, Corbin and Hillman on active imagination,” “The return to the gods in transpersonal psychology,” and “Subliminal mind and the unconscious.”
Maybe somebody among The Teeming Brain’s audience will find that this is just the thing they’ve been looking for.
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Announcing a new Masters programme in Canterbury, UK:
This interdisciplinary Masters programme draws on studies in psychology, anthropology, theology, esoteric philosophy, a range of wisdom traditions and the arts. It offers a discerning investigation into seemingly non-rational modes of knowing, exploring the cosmological sense of the sacred, the widespread practices of symbol-interpretation and divination, and the cultural role of the creative imagination. The programme will appeal to all those seeking to enrich their lives through the study of the history, philosophy and rituals of Western sacred and esoteric traditions, and will be of particular interest to teachers, practitioners and therapists in the fields of contemporary spirituality and well-being who would like to engage more deeply with the foundations of their work. Students will be required to submit four essays, a creative portfolio and review, extracts from an ongoing reflective Learning Journal and a dissertation. The MA is taught at alternate weekends Jan-June, with additional Wednesday mornings for full-time students. The second half of the year consists of supervised research with a presentation weekend in September. Students will be required to submit four essays, a creative portfolio and review, extracts from an ongoing reflective Learning Journal and a dissertation.
For the student handbook and all admin information (including fees) contact Michelle Childs firstname.lastname@example.org, 01227 863458. For information regarding course content, contact Angela Voss email@example.com
We also welcome enquiries for M.Phil and Ph.D research in related areas.
NOTE: This is a longer version of a review that also appears at New York Journal of Books. The book itself was published just today.
Supernatural: Writings on an Unknown History, by Richard Smoley. Tarcher/Penguin. Published February 7, 2013. 240 pages.
Reviewed by Matt Cardin
There’s a handful of writers working today whose books about esoteric religious, spiritual, and philosophical subjects bridge the divide between the small niche audience devoted to such things in earnest and the wider popular audience that has a casual interest in them and occasionally reads occult conspiracy novels like The Da Vinci Code and spiritual self-help books like The Power of Now. Prominent representatives of this group include Daniel Pinchbeck (2012: The Return of Quetzalcoatl), Patrick Harpur (Daimonic Reality), Victoria Nelson (Gothicka: Vampire Heroes, Human Gods, and the New Supernatural), Gary Lachman (Madame Blavatsky: The Mother of Modern Spirituality), and Mitch Horowitz (Occult America).
Richard Smoley also numbers among them, and with the publication of Supernatural, a book that looks to be aimed squarely at the readers inhabiting this middle ground, Mr. Smoley extends his appeal and his considerable expertise in these areas to a wider audience than he has previously reached. Over the past three decades he has built a stellar reputation as an authority on the alternative, esoteric, and occult streams of Western religion and philosophy. Trained in classics and philosophy at Harvard and Oxford, he rose to prominence in the 1980s and 90s as a writer for, and eventually the editor of, the now-legendary magazine Gnosis: A Journal of the Western Inner Traditions. He then turned to writing books, beginning with 1999’s Hidden Wisdom: A Guide to the Western Inner Traditions (co-authored with Jay Kinney, publisher and editor-in-chief of Gnosis) and continuing with additional books on Nostradamus, Gnosticism, and esoteric Christianity, including, perhaps most prominently, Inner Christianity: A Guide to the Esoteric Tradition.
In Supernatural, Mr. Smoley returns to the broad-based, encyclopedia-oriented approach of Hidden Wisdom by surveying a wide variety of trends and traditions in sixteen separate essays, most of them previously published elsewhere (the majority in New Dawn, the long-running, Australia-based magazine about esoterica and the paranormal). But he does so in a more personal and conversational tone that makes the book more accessible to all types of readers than some of his previous work has been. He has always written beautifully smooth and lucid prose, and has always presented complex, profound, and subtle ideas with striking ease, but here he adds to that elegance a casual, informal tone that generates a sense of simply hanging out with the author and listening to him talk extemporaneously from his insights, experiences, and vast store of knowledge. Read the rest of this entry
(Given all of the conversations that have arisen here recently on the connections between theological speculation and fantastic fiction, it seems an appropriate time to revisit, and revise, and expand, a piece that I originally wrote for The Eyeless Owl.)
Let no man read here who lives only in the world about him. To these leaves, let no man stoop to whom Yesterday is as a closed book with iron hasps, to whom Tomorrow is the unborn twin of Today. Here let no man seek the trend of reality, nor any plan or plot running like a silver cord through the fire-limned portraits here envisioned. But I have dreamed as men have dreamed and as my dreams have leaped into my brain full-grown, without beginning and without end, so have I, with gold and sapphire tools, etched them in topaz and opal against a curtain of ivory.
— From the introduction to Etchings in Ivory by Robert E. Howard
While reading Joscelyn Godwin’s Atlantis and the Cycles of Time — regarding which, see this excerpt — I was struck by how familiar I already was with the invoked imagery of Hyperborean civilizations. I’ve never had much of an interest in that realm of speculation, so it was odd that its concepts would be so recognizable, almost palpable, to my mind’s eye. It took me a few days to realize that this was because much of the narrative and imagery had already been put into my consciousness by a youth spent reading the works of Robert E. Howard. As one of the founding writers of the “swords and sorcery” genre, Howard portrayed his Hyperborean heroes Conan, Kull, and Bran Mac Morn all traveling through worlds enlivened by Theosophical and speculative archaeological theories of prehistoric civilizations.
The author of a more muscular strain of weird tale than what was written by some of his fellow pulp titans, Howard seems an unlikely host to some of the fae notions of Theosophical cosmology. However, after doing a bit of research I found that his interest in history, which gave his historical fiction an air of reality, was paralleled by an equal interest in the occult. His initial letters to H.P. Lovecraft contain inquiries into the esoteric truths behind the Cthulhu Mythos and imply a seeking curiosity similar to what might be found in a letter sent to the outer representative of a secret occult order.
This really should not come as a shock, since we find Howard writing marginalized fantasy fiction at one of the high points of America’s occult revival. The pulp magazines were one of the prime markets for organizations like the AMORC and the mail order mysticism popularized by publishers such as de Laurence, Scott and Company. And naturally, writing in the genres that he did, Howard found the imagery of Theosophy and the occult provided the raw framework from which to work. Although Conan, Kull and Co. are among the most earthy examples of the swords and sorcery genre, Howard’s cosmic vision sneaks through in stories like “The Tower of the Elephant,” which features a transcendent vision of the cosmos where lines between the celestial, the earthly, and the extra-dimensional blur into a frictious mix.
Jeff Shanks’ article “Theosophy and the Thurian Age: Robert E. Howard and the Works of William Scott-Elliot” (in The Dark Man: The Journal of Robert E. Howard Studies, Vol. 6, Nos. 1 and 2) provides a historical analysis of some specific Theosophical influences that went into framing the landscape of Howard’s work. But it seems to me that one of the more important aspects of this subject, and one that is a bit more ephemeral and subtle to trace than the mere origins of his influences, is the question of how Howard’s writing interacts with the esoteric tradition itself. These interactions are so prevalent in his work that in many instances he seems to utilize some of the same processes used by Theosophists such as C.W. Leadbetter in hopes of gaining an authentic vision of antediluvian worlds. Howard gives us a surprising opportunity to examine the strange chemistry that occurs when a certain psychology, no matter how seemingly mundane, acts as a catalyst to a potent stream of occult influence. His example also leads out to the realm of other authors who experienced something similar, and eventually to a general insight about the relationship of channeling, mediumship, anomalies, and visionary trance states to the creative imagination. Read the rest of this entry
The mind boggles at this stunning animated film, released in summer 2012, that tells “A story about the fire at the heart of suffering. Bringing together dancers, musicians, visual artists and 3d animators, the film takes a critical look at the events of the past decade that have shaped our world.” With a “cast” that includes many massively important figures on the world stage (both ancient and modern, historical and mythological), and featuring a fairly amazing original musical score, the film is replete with mystical, occult, esoteric, and religious symbolism. It’s an instance of politically and religiously charged surrealism of the most edgy, beautiful, and mind-blowing sort.
If you’d like a breakdown of the “plot,” see this review at Greenewave. Otherwise, just open your mind and watch. More than once, preferably, if you want to catch all that’s going on.
The director is Louis Lefebvre. The production company is Heliofant, whose self-described mission is the use of computer animation, driven by art and artists from multiple fields, for explicitly philosophical and spiritual ends:
Based in the beautiful Laurentian mountains just north of Montreal, Canada, Heliofant is a nascent independent computer animation studio focused on creating experimental and challenging content. Bringing together artists from the fields of dance, music, computer animation and visual arts, the company is very interested in exploring the common ground that underlies many spiritual and philosophical traditions in a lyrical form.