Babalon Diaries: No !! Casting

Babalon Diaries # !! Casting

Our Lady Babalon

Our Lady Babalon

This is Part 11 to a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…

Directed by occultist, Alison Rockbrand, Babalon was performed on December 16, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

Babalon Diaries No.!!

Babalon by Paul A. Green
Voices and Characters

Jack: John Whitesides Parsons – educate Californian, Frater 210 of the OTO

Ed: Ed Forman – technician at CIT – Californian, Life long friend of Jack

Crowley: Aleister Crowley, Baphomet, Frater Perdrabo 666, Master Therion,The Great Beast, Supreme Caliph of the Order of Oriental Templars etc etc. In this last phase of his life, Crowley suffered form severe asthma. A 1930’s recording of his inimitable voice survives.

Freida: Lady Freida Harris – artist, wife of Sir Percy Harris, Bart.  Crowley’s loyal pupil and patron. In her 60’s Patrician English

Smith: Wilfred T. Smith. In his 50’s. suave Anglo- American. Frater 132. Crowley’s original OTO representative in California

Helen: Helen Northrup Parsons, Jack’s first wife. Californian

Betty: Sara Elizabeth Northrup, Helen’s sister. Later Jack’s mistress

Ron: Lafayette Ronald Hubbard, author, explorer, religious teacher. Mid-West
Founder of Scientology

Cameron: Marjorie Cameron Parsons, aka Candida or Candy, artist and vessel of Babalon

Police Officer/ FBI Officer/ Radio Announcer/

and Young Crowley

Alison Rockbrand

Director, Alison Rockbrand as Babalon in a prior incarnation

Casting

It’s about time for another installment of the Babalon Diaries. That Mercury Retrograde in September was a real blooper. I was so scattered I forgot to blog. Imagine!

One thing I learned hanging around the Thelemites involved with Babalon, is that many Magicians are not psychic in the least. This came as a surprise to me because I am not sure I would have been a Witch if I was not a Faery Seer, and I would not have been a Faery Seer if I wasn’t psychic. So, I wondered what drew these people to magic? Was it anything more than an intellectual, or academic interest? I think not because they were practicing magic to get results in alignment with their True Will.

“Do what thou wilt shall be the whole of the Law. Love is the Law, Love under Will” 666

That is all well and good, but if you can’t “see” the effects of your magic, how do you monitor it? How do you gauge what is happening in the Unseen? How do you know what the spirits you are summoning are doing?

It is a very dangerous activity as those of who can “see” can attest. Even Crowley, and John Dee long before him,  employed clairvoyants to capture the visions and channel the spirits. Without a Seer, Magick is a case of the blind leading the blind down a dark alley in a storm.

These Magicians are all Londoners, city dwellers. My magical personality is totally tied up with nature, and nature is where the original psychic openings happened for me, and it was in nature that portals opened out into the Otherworld. When I asked about this, I was told that in cities, people are into Lodge Magic. That is why the Ceremonial Magical traditions like the  Golden Dawn, and Thelema, are based in Free Masonry — it is all Temple Magic done indoors with elaborate altars and trappings like the Catholic Church was before Vatican II.  This type of magic may not require psychic abilities because the rituals themselves hold the appeal, and the power that is promised is gained through study and the practice of Magic for certain results. Ceremonial Magic has much more formal rituals, very stately and beautiful ones that do indeed create atmospheres of great potency that can induce trance states and visions. In contrast, Witchcraft, and Faery Seership especially, are more spontaneous and don’t really need anything more than clairvoyance to participate in their  Mysteries.

Downloading A Goddess

So, there were difficulties.

It is too easy for me to mediate deities. I did it as a dancer, and as an actress when doing Shakespearean roles. I shift into other consciousness streams when I do readings and healing work for clients. I learned very early on, in the late 1970’s, to blank my mind with meditation so that “messages” could come through from the spirit worlds and I could know it was not my imagination, or fantasy. I was taught the importance of “slaying the ego” in order to become a vessel for the gods.

So, very shortly after I began working with my Babalon script, I was moving into Babalon’s current, and it would not be long before She would be coming through.

Trouble is, that on my side of issue, I am still me. I have simply allowed Babalon to take space in my consciousness and being, and to express Herself through me. But I do I do not have multiple personality disorder. On the contrary, I am highly aware that I am still me. I just now have emotions and forces moving through me that are not quite mine — but they are also, in the sense that these emotions and forces belong to all of us, not alien.

It seems in retrospect that some of my cast members did not understand this.

The Wiz came to rehearsal smelling of roses and working the eye contact with me/ She.
I,  of course was not able to separate myself from Babalon and wondered why he was attempting such an obvious seduction, as if I wouldn’t know what he was up to.
This would all play out in a rather unfortunate and somewhat silly way later on.

Babalon is a Love Goddess, and also a Goddess of Destruction, very much like Lillith.
She is red roses and blood, sex and transformation through the power of sexuality. Try to live in the world with this volatile cocktail of forces moving through you and you can easily court disaster, especially when She has Her own agenda.

BABALON

A Speculative Fiction for Radio
concerning the life and death of Jack Parsons (1914-52)

This conceptual synopsis and complete script of BABALON is copyright© Paul Andrew Green 1998/2005, who asserts all rights of authorship and intellectual paternity under the 1988 Copyright Act. It may not be reproduced , developed, adapted, performed, or broadcast in any form or medium or format whatsoever without the express written permission of the author or his agent. A staged version was performed by Travesty Theatre at the Gielgud Studio Theatre, RADA, London WC1 on 16 December 2005.

The live recording is now on-line at Radio QBSaul VOICES Angela Morrow Marjorie Cameron George Sieg Jack Parsons

Anthony Lewis Ed Forman/AleisterCrowley/Harbourmaster/FBI Agent Elizabeth Daily Lady Frieda Harris/Helen Parsons/Mrs. Crowley David De Blank Wilfred Smith/Warden/ Thomas Crowley/Announcer Marysia Kay Betty Northrup

Joe Murray L. Ron Hubbard/Police Officer VISUALS Sara Mulryan SOUND Georgi Georgiev/Paul Green DIRECTOR Alison Rockbrand

See how they try to hide…

Treadwells Bookshop

Treadwells Bookshop

How We Met Each Other

I went to a read through at Treadwells and Alison wanted to cast me. At that point, my American accent and acting experience made me a desirable choice to play Cameron/Babalon. I didn’t want to do, especially after the incident when, script in pocket, I went to the corner shop in Highgate where I lived, and bought a few items that totaled up to 6.66. Crowely’s Magical personality as the Great Beast was, of course, 666!

I hadn’t made up my mind. Though I was attracted to the project, I was scared. I didn’t want a Goddess of Destruction coming through. Suddenly, one day when I was home, it felt like an earthquake ripped through the flat. Emotionally, I became unstable, almost crazy with anxiety. I couldn’t sleep that night and somehow got on the phone with GG, (we had just become friends) and he was very kind and supportive, but I must have been  nightmare to deal with because I was basically freaking out.

A few days later, I was approached again by Pharaon about being in the play. I agreed to do it, ignoring my sense of foreboding…

A group of quite wonderful actors were assembled. But it was impossible to cast Crowley! It was weird. Here we were in the middle of London working out of an occult book shop, and we couldn’t find a middle aged to old, bald headed magician to play Aleister Crowely! The original plan was that, since the play had been written by Paul Green as a radio play, that only Crowley and Frieda Harris would be on the stage, along with a Cameron/Babalon, while the rest of the cast would be in hooded robes speaking from a gallery that runs along the top of the stage at the John Geilgud Theatre. Since Cameron/ Babalon didn’t come on until Act 2, this left the stage bare for half the play.

Cameron as Babalon

Cameron as Babalon

Weeks went by, still no Crowley. I asked my young shaven headed Goth friend to it — he would have been great because he was flamboyant, and funny as Hell, as was Crowley, but even he refused. Nor could we find an old lady to play Freida Harris.

Alison had no choice but to cast a couple of twenty somethings who were good for the roles but visually totally wrong for the parts, and keep them offstage. Anthony   Lewis,   who did the voice of Crowley  during the rehearsals was an amazing Crowley. He found recordings of Crowley’s voice, and really nailed it. He also gave the character of the Great Beast tremendous wit and charm.

The Darkness Thickens

We initially assembled upstairs in Treadwells, in the middle of the bookshop, because another theatre group, Foolish People, were rehearsing down in the “crypt”…I remember looking out the windows at the streets and the restaurants thinking how dark it was. It was now October and night fell early all of a sudden.

I remember how ghostly it was that year. One day, my room mates, P.& K. who were Goths, had gone to Highgate Cemetery. They had met at the Whitby Vampire Festival 10 years before and were inseparable from that moment on. They were really into horror films and vampires and death and all that good Goth stuff.   That night, I had a dream that some shadowy figures crept silently onto the flat and went into their bedroom. They had attracted ghosts into the house. Things were moving in a very murky direction.

The days grew darker. GG was the sound effects man. He was having trouble making it to rehearsals and the Babalon part of me was getting upset. I am not sure if I would have been unhappy about it on my own, or if the magic that was being done behind the scenes was too strong for me to take. Pharaon, who was playing Jack Parsons,  also had trouble getting to rehearsals on time, and the Wiz was frequently ill with asthma — Crowley’s malady at the end of his life. As a former professional actress and dancer, I was appalled that actors would be late for rehearsals, but I also sensed that there was stuff going on among the Thelemites that I, as an outsider, was not privy to. Things would get very much weirder before I found out.

And of course, if you want to listen to podcasts of our December 16, 2005 performance of Babalon, the links are just below.

Babalon: Part One

Babalon: Part Two

Please leave comments. For updates of the Babalon Diaries, subscribe to my RSS Feed or my email list. There is more to come…

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Attributes of the Horned God During the Dark Night of the Soul

This picture saved me!

Christina Oakley gave this extremely powerful image to me over tea and cookies in her office at Treadwells Bookshop in Covent Garden, London. Seven years after my harrowing spontaneous initiation with the Horned God, I had finally drummed up the courage to ask for help.  It was not easy to find someone who would understand the difference between visionary experience and insanity — especially in the UK where ‘mental and emotional problems’ are still perceived quite harshly.  But the only way out of darkness for me has always been to find meaning in the experience. I felt Christina could provide that meaning, for she is a knowledgeable initiated Witch.

This Initiatory ordeal is discussed in depth in my previous posts: The Horned Ones, and London: How I Encountered the Spirits of the Land.

The Horned God had come to me in the form of large and powerful Stag/Man.  Due to my own resonance with deer, I always see the God in the form the French Cernnunnos, the Stag. I had written a poem about Cernunnos as he appears on the Gundestrup cauldron a good 15 years before he came to me in the night.

( Intimations of Ancestry: Song of the Gudestrup Cauldron)

In England, the Stag is called Herne the Hunter, Lord of the Wild Hunt. Indeed, it was as he was leading the Wild Hunt through my house that he found me and my ordeal began.

When it comes to spirits and the Elder Gods: “If you can see them, they can see you.” Never take this lightly.

In her own poetic style, Christina told me about the picture at the top of this post. The bottom shows the Stag  in the dark forest. We, as Hunter, or man in his primal, unconscious, undifferentiated state, have chased him there thinking “Wow I have found a big one! One that will feed me for many months!” In our pride we fail to see that the case is reversed. It is he who has led us into his wild domain.

The Hunter thinks the Stag is the one who will die — or who will serve him, or feed for him for a long time, but it is not so. It is the Hunter who dies by entering the Dark Night. The Hunter enters the maze and cannot find the way out until the God decides he is ready. This usually takes seven years in human time.

Does anyone know the reason seven years are required to face one’s demons and walk out wounded, but wiser, and profoundly changed? It is seven years. I know for a fact!

(In writing this, I just realized, I had asked for this experience back in 1996. I was questing in true Arthurian fashion in an Arthurian, Faery domain. In other terms, I was hunting the God — following the White Stag into the Otherworld to discover the richness and beauty of the unseen worlds.  Where would he take me? What marvels would he show me? I thought he would he ‘feed’ me for a long time with wonders and possibly a spiritula prize of great merit. But rather than into the Grail Castle of transcendent beauty, he led me into the Abyss where death and a darkness waited to consume my to my very bones….for to the mortal being, the Faery realm is the abode of spirits, shades, the dead — and that is a dark place indeed.)

In Christina’s picture, the Stag’s antlers grow and branch into the Tree of Life. For Qabbalists, you can see that the Stag is not only BELOW the Tree, in the Qlippoth, but is actually the ROOT of the Tree. The traditional Qabbalistic propaganda about about the roots of the Tree of Life, or its upside down reflection, it shadow on the earth, is that they are the abode  devils, demons, chaos, and evil to be strictly avoided in meditation and magical workings. Very dangerous indeed!

This fear, in my thinking, was promoted at a time when the Roman Church sought to separate the people from their Pagan Gods, who were also rooted in the land, and thus sever them from intimacy with nature. An image of the roots of the Tree of Life beginning in the horns of an animal with cloven hooves, is remarkable indeed. For the horned and cloven ones came to be, in Christianity, synonymous with the Devil.

The Dark Forest

Wandering in the Dark Forest, is the symbol for the Dark Night of the Soul. You are lost. It seems even God has left you to grope your way through your own blindness, left you unprotected to face the monsters you grew in the shadowy corners of your mind that lurk and block you until you admit their presence. No one can advise you in the murky terrain of your own soul.  It is the helpless, lonely stage of the Quest, where no one answers your questions, where you don’t even know the right questions to ask, and comfort is in short supply.

But look again at the picture. High in the antler/branches of the Stag, are birds fluttering their wings. They hover just below the culminating symbol of what I guess is an embryonic deer, seeded in the womb space that pokes into the Upper World just under the earth. Singing, the birds conjure a blazing light around the top of the tree. Yet they seem to be barred from ascending to the Upper World, where light and life is. These birds show, not that there is a way out of the darkness, but that there is light in the darkness. The symbol also shows that the antlers of the Underworld Stag terminate in buds. These buds will flower and live again when conditions are right.

Seeing the pattern of the antler/tree reminds me of the labyrinthine path one follows in the forest of the soul. I have come to believe you must tread the maze completely before you are able to come back out into the light where the birds sing and fly free. This is because the pattern and boundary of the maze are fixed– its route, and our journey along it, is pre-ordained by the nature of its fixity.

Birds have always been symbols of the Soul. The presence of birds tell us this is soul work, this Stag chase into the woods is how we reclaim our soul.

Our Reward:Coziness

When we return to the light and the living, we find our way to the sunny mountaintop where a cozy cottage sits in plain view with smoke coming out of the chimney. A warm, welcoming fire awaits us. We see the forest far below, visible and no longer threatening. Nothing can ever threaten us again, once we have faced the darkest dark and gone through it, not even the Devil with his horns and cloven hooves can scare us!

Looking closely at the image of the little hut on the hill, we see the impressions of flowers growing along a path that climbs a hill of solar rays, and terminates in a fire inside the house. Smoke flows out of the chimney.The land is cleared and the view is spectacular. In the distance, across the treetops of the forest, we see another such hill with another little hut with smoke coming out of the chimney.  We are separate but not alone.

The flowers bloom from the buds at the points of the antlers that poke up out of the Underworld, the path ending in fire is an extension of the central trunk of the Tree of Life. Though the mountaintop is a classic symbol of spiritual attainment, this image is homely, earthy. The path of the Horned God does not lead to a celestial abode of angels and endless harping, but to life close to nature without being at its mercy. We are sovereign, but not lonely. But as the path leads up, it also leads down again. Our relationship with the God is cyclical and permanent. As this image so eloquently tells us, the Stag/God/Tree sustains us as he sustains all of life through nature.

Herne the Hunter and his Symbols

There were many other spirits that came to me with Herne — all of them part of his iconography, listed on his Table of Correspondences. When Christina described these things to me, the information was all the more convincing for my not having known it consciously before.

Herne’s Rites are traditional for Autumn Equinox, but I learned by experience that the Rites of Autumn are foreshadowed in the Spring, due perhaps to that Scorpio Full Moon at Beltane. The veil is thin at both seasonal tides, and when the veil is thin, the spirits come out upon the Earth.

Among the images associated with the Stag God are:

Harvest: First is the Harvest of Grain. Then comes the Harvest of Grapes for the wine. Third is the Harvest nuts. Last is the Harvest of Souls.

The idea of a Harvest of Souls always stirs us. It comes at the time of Samhain as we descend into the freezing darkness of Winter. Perhaps in primal times, many humans died at this time. The ancient Celts had a tradition of flogging each other with birch rods to cleanse impurities from the soul. I imagine this was a kind of insurance in case one did not survive the snows. In Christian times, the weak and sick must have run to the priests to cleanse their sins and gain absolution. Certainly the priests used this time of worry to harvest souls for Christ.

But Samhain was also a time for hunting. A large animal such as a  stag would provide meat for many weeks, feeding a family in the deepest winter months when it was dangerous to stray out of doors. For farmers, October/November would have been a time to slaughter livestock, weeding out the old so that the new born in the Spring would be strong and healthy. Thus, the animal souls were harvested by the Gods, brought home again to be reborn in the Spring.

Symbols: Grapes, Wine, Vines, Garlands

The vines suddenly burst up through my bed, driving up over the sheets to wrap around me like snakes. Lengthening at a great speed, the green vines shot up through my mattress to bind me for the God.

Animals: Wolves!

If you ever get to read my fiction you will see I have been just as busy with wolves as I have been with Stag/Men.

Wolves prowled around the edge of my protective circle — but, strangely,  couldn’t get in.  Everything else did. Also Dogs, Birds of Prey, Blackbirds, Stags, Goats, Salmon ( the wisdom part)

Plants: Vines, Ivy, Cedar, Hops

Ritual Meaning: Celebrating the Second Harvest, Darkness Overtaking Light, Celebration of Wine.

Often Initiation leads through a death and second birth. In those terms, a second harvest  would have to do with gathering the fruits of the second birth, sacrificing those fruits in preparation for another death. So the cycle goes round and round.

Deities: All Wine Deities especially Dionysus and Bacchus, Persephone, Modron, Morgan le Fay, Demeter, the Muses, Snake Woman, Sphinx, Thoth, Hermes.

Oh my! All of my most significant Gods and Goddesses! What could it all mean?

Activities: Wine Making and Adorning Graves.

What is this connection with wine and death? Anyone? Perhaps the answer is here: Stirring the Witchblood: John Barleycorn Must Die

Foods: Grapes, Acorns, Root Crops, Nuts, Apples (Goddess), Wine, Ale, Cider.

Witchcraft is the Green Religion

I am not writing all of this to blather on about myself, but to show how real the Initiation of the Horned God was and how real the Gods are. They were not contrived by ancient poets and bards, they were not invented by story tellers. They exist in their own Time/ Space and can be contacted through magical rituals and conscious observation. Our ancestors lived with these Gods and Goddesses, communicated with them regularly, made sacrifices to them to insure an abundant harvest. These ancestors were not silly children with overactive imaginations. Rather we moderns lack the instincts and intelligence of our forebears. We give nature short shrift, deny her our true attention. What right do we have to decide that the Gods of Earth do not exist just because we have cut off the organs we used to have to see them with? Safe inside the walls of our cities, we have decided that nature, our very source and provider, is irrelevant.

Seeing the spirits of the land, respecting the Gods and Goddesses of Earth proves that the Earth and all of nature is alive! The Gods embody the wisdom and sentience of the Earth, the animals her soul, the plants her spiritual essence. The Gods may be forceful towards those of us with the Sight because it is so important that they re-establish their priesthood. Who else will say what I am saying here: The Earth is your Mother, the Sky is your Father. That which is Above is as that which is Below. The Under World of spirit gives life to the Upper World of mortality. Without one, the other cannot exist.

Please be aware that you are walking on the Gods.

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Babalon Diaries: The Consecration of a Grimoire

This is the fourth in a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…(as if one has choice…)

Directed by Alison Rocbrand, Babalon was performed on December 16, 2005 at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I play Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.


Treadwells Bookshop

Treadwells Bookshop

Treadwells Bookshop, Covent Garden

Treadwells Bookshop in Covent Garden is gathering place for esoteric people of all stripes. The owner, Christina Oakley-Harrington, holds fascinating talks and workshops in a small open space in the basement.  Often transformed with draperies, altars, ritual tools, even a coffin when the vampires want to do a reading, this Temple of Arte is the venue for weekly lectures, workshops and events that attract magical people from all over the world..
One August night, Christina was hosting an interesting event that would bring me into contact with an unexpected destiny. This event was to be a consecration of a Grimoire dedicated to the Infernal Powers called Liber Niger Legionis, Grimoir of Phaoron.

Grimoire

Before this I had steered clear of the dark powers, but I was working on a novel, Dark Night, Lily Bright, in which the Sorceress Lianna Hedegwicke, was a practitioner of the Elizabethan Magic and demonology. I wanted to learn as much as possible about the psychology of those attracted to the Left Hand Path, and find out what techniques they used to invoke spirits. The consecration of a Grimoire was an opportunity to do a little research. Naughty me, but the writer’s mentality is such.

As I descended the narrow Georgian stairs of Treadwells the smell of incense told me preparations were being made. I had never seen the room decked out like this before! The walls were hung with long swathes of red and black cloth, the black draped altar was facing the South wall, placing the Magician in the North, facing the fiery South. (The desire of the Magician to bring the Fire Element to him in order to invoke infernal spirits is obvious. In Left Hand cosmology, Fire is the element of Satan).

There were a few people sitting in a half circle of chairs facing the altar.  At the center of the altar was frightening horned mask, and on its horns lay the Grimoire, bound in black leather with a reversed red pentagram embossed in the center. Candle branches illuminated the darkness with sputtering and smoky lights. A slim girl in tight black clothes, with a cloud of dark curls around her pale pretty face, paced around the room trying to keep us entertained, while some creepy ambient music clashed and thrummed to create an atmosphere of incipient chaos.

Liber Niger Legionis

Liber Niger Legionis

Phaoron was late, as I was his habit I would learn….The guests sat patiently. One man kept talking to me about something to do with sigils — a subject I didn’t understand very well at the time.   His chatting me up his was wearing  thin when Phaoron finally arrived flustered, but with no need of a wardrobe change.

The Ritual began with Pharaon reading from the Introduction to his little black book.
It was worth waiting for, for Pharaon’s writing was sheer poetry, his deep connection to the demonic world that would inspire my research.

Babalon

Babalon sigil

Review

Here is a  review of the Grimoire  from  the website of the Chaos Magical Theatrical Group, Foolish People. Their director, John Harrigan, is a talented magician himself.

They often perform at the Horse Hospital in London.

The Grimoire of Pharaon:

Sorcery, Chumbley, Spare, Chaos

Liber Niger Legionis, The Grimoire of Pharaon

£350
First Edition: Octavia Press 2005. Hardback 162pp. Author: Pharaon. This copy is Number 4 of the numbered limited edition of only 36 copies. It is signed and sigilised by the author. In this first edition, sigils to 36 daemons were individually produced. Copy 4 is dedicated to Samael; this unique sigil is starkly remarkable. The book’s content consists of an original grimoire, though it is evident that inspirations are drawn from Austin Osman Spare, Kenneth Grant and Andrew Chumbley. The grimoire presents an original system of Gnostic sorcery, which is both practical and cosmological. Eschewing the traditional esoteric cosmology that describes the Supernal or Divine that is in opposition to the Infernal, it instead it regards the ‘hostile’ or ‘demonic’ forces as being inherently illusory, indeed that which is the illustory itself. The response to this insight is the spiritual aim, what Pharaon calls ‘Black Gnosis’. In it, the sorcerer apprehends mystically the transience of identity. As the infernal (illusory) nature of reality is identified, one is enabled to ford the currents that underlie it, recognizing their sentience and power. In this system, the sorcerer becomes a mirror for that which is beyond. As the author draws upon the entire magical tradition, the Daemons summoned are traditional ones, ones that most will recognize. It is their relevance to postmodern reality that is emphasized, however. The author is transgressive, fiercely iconoclastic, and solitary; despite the fact that Infernal Sorcery is explicitly referred to as Cainite and relates to the work of Andrew Chumbley, the author is not a member of his Cultus Sabbatai, but instead works independently. The book, after outlining and instructing the system of Gnosis and magical practice, lists the 36 daimons, with their natures, their meaning and relevance to the system and sigil. The first edition, in which only 36 copies were printed, has become highly sought after even within the first six months after its release. Issue points distinguishing it from the second edition are the upright direction of the cover pentagram, and the particular decoration of the endpapers.

Liber Niger Legionis, The Grimoire of Pharaon

Author: Pharaon
£60.00
Second Edition: Octavia Press 2005. Hardback 162pp. This copy is Number 22 of the numbered limited second edition of only 72 copies. It is signed and sigilised by the author. This second edition features a different decorated end paper to the first edition. Also, compared to the first edition, the pentagram on the cover is inverted, which in fact was the author’s original intent.

Liber Niger Legionis, The Grimoire of Pharaon
Another copy of the second Edition: Octavia Press 2005
£60.00 – Number 36, of the numbered limited edition of 72 only copies

I just saw one of these for sale on Ebay for $1250.00.

To listen to the Radio Show, Babalon, click here:

Babalon: Part One

Babalon: Part Two

by Andrew Chumbley

by Andrew Chumbley

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