Sunday, October 23, 2011

Igbo spirituallity

by Onyi Anyiwo

The spiritual system of Ndi Igbo (the Igbo people) is one of the oldest on Earth. The roots of Igbo spirituality is the same as the roots of every other African one; that is, in Africa. Igbo spirituality predates Islam, Christianity, Judaism and every other -ism that one can think of. If there are any similarities between the traditional practices of the Igbo and those of other religions, it is because they were borrowed from our ancestors, and not the other way around.

The ancient spirituality of the Ndi Igbo, like most other traditional African spiritual systems, has been misunderstood and demonized unjustly. Evangelical churches, with the help of Nollywood movies, have helped to paint a negative picture of traditional Igbo spirituality that dates back to the arrival of the Europeans in Alaigbo (Igboland). It is quite unfortunate that most of the people who condemn Igbo spirituality do not know much about it, and base their most of their information from the lies of the very same people who wanted to destroy it and everything about our culture. While all the misconceptions about the traditional practices cannot be corrected in one article, this introduction to Igbo Spirituality will help clear a few things up.

The basis of Igbo Spirituality is the concept of “Chi.” Similar to the “Ori” of the Yoruba, and the “Ka” of Ancient Egyptians, Chi was the fundamental force of creation. Everyone and everything has a Chi. Ndi Igbo, like other Africans, worshiped one Creator, who is known by many names: Obasi Dielu (The Supreme God), Chi di ebere (God the merciful), Odenigwe (The Ruler of Heavens), etc. The two most popular names for Supreme Being used in Alaigbo were Chukwu and Chineke. The dominant name, Chukwu, which is a combination of the Igbo words “Chi” and “Ukwu”, literally means “The Big Chi”, and shows that Igbos believed that the Supreme Being was omnipresent and all-pervading. Chineke, which most people translate as “God the Creator” actually has a deeper meaning. Chi is the masculine aspect of God and Eke is the feminine aspect. Ndi Igbo knew that it took male and female to create life, so the Creator of everything would have to encompass both parts.

Because Ndi Igbo believed that everything in it had a chi, they also gave names to the Chi found in nature (the Alusi). The Alusi of the sky was known as Igwe. The Alusi of the yams (the most important crop of Ndi Igbo) was called Ahiajoku. The Alusi of the Sun was called Anyanwu. The most important of the forces of Nature was Ani, which was the feminine force that presided over the Earth. The Alusi were not limited to natural forces; metaphysical and supernatural forces and principles also had their own names and attributes. Ikenga was the Alusi of strength and Agwu was the Alusi of wisdom and healing. Each Alusi had its invididual personality and function, but they all were still parts of Chukwu.

The Ndiichie (esteemed ancestor spirits) also held a high place in traditional Igbo society. Elders have always been revered in Igbo society, and even more so after they passed onto Be Mmuo (the land of the spirits). The Nddichie would often be consulted to offer advice to their descendants and appeal to the Alusi on their behalf. Ndi Igbo have never worshiped their ancestors, only venerated them, which is no different then what Catholics do to their saints or what every country does to its national heroes. Respect and honor for the Nddichie was shown in one way by pouring of libations while chanting incantations. Ndi Igbo believed in the concept of reincarnation, and felt that the Nddiichie often reincarnated back on Earth. In fact, all Mmadu (human beings) were believed to reincarnate seven or eight times, and that depending on your karma, one either ascends or descends into another spiritual plane.

The personal relationship between God and Man in Igbo spirituality is as close as it can get. Ndi Igbo did not believe that they were separate from their Creator, and felt that the Chi that resided within them kept them connected. Igbo felt that their Chi was unique and personal and served as a guide and protector to them. A person’s destiny was also guided by their Chi. Those with a strong Chi would have prosperity, good health and good fortune, while those with a weak Chi would be prone to sickness, poverty and bad luck.

Even though the Igbo are largely Christian now, their traditional spiritual beliefs still live on. Along with these beliefs, a fundamental part of Igbo philosophy was “Biri Ka'm Biri” (live and let live). Ndi Igbo did not believe in fighting wars over religion. In their view, everybody should be able to worship God as they see fit. If there is any lesson from Igbo spirituality that we must not forget, it is this one.

Monday, October 17, 2011

The Fool


"The Knower of truth should go about the world outwardly stupid like a child, a madman or a fool." - The Mahavakyaratnamala 6.9.12

Reincarnation and the Ancestors

by Louis Martinie

Its Mardi Gras soon in New Orleans and I can hear what Mishlen and I call “parade signs.” Brass instruments and police sirens announce beads and fun and blocked streets.  Carnival is a good time to think about the ancestors and their strong place in New Orleans Voodoo. I honor my ancestors. I have a morning rite in which they get their coffee before I drink mine. It ends with the words, “To you from the living.” I also look to the Tibetans and their spirituality to compliment the Voodoo I practice. I am not alone in this kind of pairing. Sam Webster wrote a paper suggesting the same type of coupling with Wicca (circa 1988). Owen Knight , a bard and a Druid, has told me any number of times that a big  strength of his spirituality is that it readily accepts any spirit that may add to its completeness. Peoples of the Pacific Rim have long brought what we call “Buddhism” into the service of their local Gods and Goddesses.

This brings in the whole subject of reincarnation; a bedrock of the Tibetan’s beliefs. So is it incompatible to honor the ancestors and believe in reincarnation? Does one of these practices/beliefs necessarily exclude the other?

I have heard that here is more power in questions than in answers. Questions roam the mind freely, grazing on diverse and often disparate bites of information. The mix, after even a rudimentary digestion, can be amazing.  Answers hold one a bit closer to the solidity of home. Sureness is nice when you are building a levee but can be confining in spiritual exploration. What follows is a beginning attempt, for me at least, to bring direction to this question. The purpose is not to find or construct some answer but to bring power to the question by exposing its more obtuse angles or angels.

Working Definitions:

Reincarnation – The rebirth of a particular consciousness into another form.
Ancestors – Particular consciousnesses who have died and who have influenced you in an important way.

Angles / Angels of Exploration:

1. A particular consciousness can not be dead and reborn at the same time. The conditions are mutually exclusive. The ancestors are particular consciousnesses who have, in the main, been reborn. They are no longer among the dead. The voodooist can not bring benefit to reincarnated consciousnesses by making offerings them. However, the Voodooist could receive benefit from the intention involved.
My mom is reincarnated; she has another name, another personality. Offerings to her past self do not bring benefit to the self which I knew and is now reborn.

2. The confusion lies with our perception of time.  We perceive time is a way that most allows for our survival. Seeing what is truly there and seeing in a way that helps us to survive can be two very different things. All that was…is now …and will be. Chose your point of reference. Time is a choice, not a given.

3. We live multiple lives all at once. What was is always present. That consciousness that is the ancestors is always there. The spirits are complex; their existence is not linear. We are linear in our perceptions. (conversation Rosalinda)

4. The ancestors are real no matter what we believe or do not believe. No matter what we do or do not do. Faith is not the issue here. It is irrelevant whether we validate or invalidate the ancestors. They exist. They do not need our approval to exist. 

5. There is a belief that you die and automatically become a ghost. A ghost is a sentient being of the Invisible World. The ancestors can be perceived as similar to ghosts.  It may be that we die and have the possibility of reincarnating as a ghost. At some point in time the ghost will die and the consciousness may then incarnate in human or some other form. Perhaps the ancestors are one of many forms into which we can incarnate.

6. We perceive ourselves as single beings; particular beings. Due to this perception we assume that we will reincarnate as single beings. Maybe our “I” is more properly a “we.” Certainly my body is not unitary but an environ supporting any number of sentient beings. Our mind stream may reincarnate as multiple beings one of which could be an ancestor. After a time, the ancestors will die and reincarnate in another form.

7. As we carry a number of forms in our physical DNA likewise we may carry a number of forms in a spiritual DNA. One of these forms is the ancestor.  It exists as long as the DNA exists. (conversation Mishlen Linden)

8. The soul can be likened to a pebble thrown into a stream. The ripples would be the personality, circumstances of birth, etc. As the ripples go in all directions in a circular manner, so time moves in a circular, all encompassing pattern. The ancestors would be one portion of this circular pattern.  (conversion Mishlen Linden)

9. The North Africans divided the being into a ba and the ka. The ba describes the portion of the being that goes on and is eternal. The ka relates to the life force which dissipates over time. The ancestors here would be within the ka and their feeding would extend their life after death.

The above nine threads in no way join to yield whole cloth. But they may act as an antidote to the compartmentalization that restrained at least my thinking on the subject for so many years. As priests, we can not be expected to have all of the answers but we can be expected to honestly question apparent contradictions in our liturgies. To say that such contradictions are mysteries to be taken on faith is a travesty matched only by blindly not caring.

The ancestors and their feeding is not symbolic any more than the feeding of the loa is symbolic. In each case, a sentient being comes from some realm to the rite to accept or decline the offering.

Mishlen Linden suggests the following rite for, among other things, contacting the ancestors. She received the rite from TC.

HOLDING HANDS

Close your eyes.
Raise one of your hands with the palm open.
Extend your aura to the person you want to contact.
Feel the warmth of their hand upon your hand.
Close your hand on theirs.

Beyond any searches fueled by the intellect; it may be wise to let success be your proof.

I have come to a new appreciation of this simple phrase from Liber Al.

Thursday, September 22, 2011

The Problem With Music

by Steve Albini

Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says "Actually, I think you need a little more development. Swim again, please. Backstroke". And he does of course.

Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A & R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire." because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave.

Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be "hip to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '85? Didn't we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A & R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired.

These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all," A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label. They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus -- nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyways, it doesn't cost them anything if it doesn't work. 15% of nothing isn't much! One day an A & R scout calls them, says he's 'been following them for a while now, and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and y'know what -- he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude.

They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe-- cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself.

Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children-- without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties. Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer--one who says he's experienced in entertainment law and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be great royalty: 13% [less a 1O% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, and no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, they're actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.

The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! There's a gold mine here! The lawyer should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old "vintage" microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm." All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how fucked they are: These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not.

Advance: $ 250,000
Manager's cut: $ 37,500
Legal fees: $ 10,000
Recording Budget: $ 150,000
Producer's advance: $ 50,000
Studio fee: $ 52,500
Drum Amp, Mic and Phase "Doctors": $ 3,000
Recording tape: $ 8,000
Equipment rental: $ 5,000
Cartage and Transportation: $ 5,000
Lodgings while in studio: $ 10,000
Catering: $ 3,000
Mastering: $ 10,000
Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000
Video budget: $ 30,000
Cameras: $ 8,000
Crew: $ 5,000
Processing and transfers: $ 3,000
Off-line: $ 2,000
On-line editing: $ 3,000
Catering: $ 1,000
Stage and construction: $ 3,000
Copies, couriers, transportation: $ 2,000
Director's fee: $ 3,000
Album Artwork: $ 5,000
Promotional photo shoot and duplication: $ 2,000
Band fund: $ 15,000
New fancy professional drum kit: $ 5,000
New fancy professional guitars [2]: $ 3,000
New fancy professional guitar amp rigs [2]: $ 4,000
New fancy potato-shaped bass guitar: $ 1,000
New fancy rack of lights bass amp: $ 1,000
Rehearsal space rental: $ 500
Big blowout party for their friends: $ 500
Tour expense [5 weeks]: $ 50,875
Bus: $ 25,000
Crew [3]: $ 7,500
Food and per diems: $ 7,875
Fuel: $ 3,000
Consumable supplies: $ 3,500
Wardrobe: $ 1,000
Promotion: $ 3,000
Tour gross income: $ 50,000
Agent's cut: $ 7,500
Manager's cut: $ 7,500
Merchandising advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Publishing advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Record sales: 250,000 @ $12 =
$3,000,000
Gross retail revenue Royalty: [13% of 90% of retail]:
$ 351,000
Less advance: $ 250,000
Producer's points: [3% less $50,000 advance]:
$ 40,000
Promotional budget: $ 25,000
Recoupable buyout from previous label: $ 50,000
Net royalty: $ -14,000
Record company income:
Record wholesale price: $6.50 x 250,000 =
$1,625,000 gross income
Artist Royalties: $ 351,000
Deficit from royalties: $ 14,000
Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000
Gross profit: $ 7l0,000
The Balance Sheet: This is how much each player got paid at the end of the game.
Record company: $ 710,000
Producer: $ 90,000
Manager: $ 51,000
Studio: $ 52,500
Previous label: $ 50,000
Agent: $ 7,500
Lawyer: $ 12,000
Band member net income each: $ 4,031.25

The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked.

[Steve Albini is an independent and corporate rock record producer most widely known for having produced Nirvana's In Utero.]

Sunday, September 18, 2011

The Genesis Factor

by Stephan A. Hoeller

The following article was published in Quest, September 1997. It is presented here with permission of the author.
SOME YEARS AGO, Elaine H. Pagels, the noted religious historian, had the importance of the Book of Genesis brought to her attention in a most unusual manner. She was in Khartoum, in the African Sudan, holding a discussion with the then foreign minister of that country, who had written a book on the myths of his people. A prominent member of the Dinka tribe, her host told her how the creation myth of his people relates to the whole social, political, and religious culture in that part of the Sudan. 

Shortly after this conversation, Pagels was reading a Time magazine in which several letters to the editor took issue with a particular article on changing social mores in America. To her surprise, four of the six letters mentioned the story of Adam and Eve--how God created the first human pair "in the beginning," and what kind of behavior was therefore right or wrong for men and women today. Stimulated by her conversation in Africa, she quickly recognized that many people, even those who do not literally believe it, still return to the archaic story of creation as a frame of reference when faced with challenges to their traditional values. 

Pagels realized that, like creation stories of other cultures, the Genesis story addresses profound and basic questions. Americans and Dinka tribesmen are not so different after all; both look to their creation stories when attempting to answer such questions as, what is the purpose of human beings on earth? How do we differ from each other and from animals? Why do we suffer? Why do we die? 

Recent events on the intellectual scene have served to affirm these insights. Autumn of 1996 brought a considerable revival of interest in Genesis. Foreshadowed by a series of semi-informal conversations at Manhattan's Jewish Theological Seminary, led by Rabbi Burton Visotzky, the major event of this revival became a much publicized television series entitled "A Living Conversation," devoted entirely to the Book of Genesis. Hosted by Bill Moyers, himself an ordained Southern Baptist minister who had later shifted his allegiance to the more liberal United Church of Christ, the series raised high expectations in many quarters. A number of recent books have also dealt with the Genesis story. 

Robert Alter, one of the most recent translators of Genesis, said: "Moyers has hit upon an idea whose time has come. At this moment of post-cold war confusion about where we're going as a civilization, with all kinds of murky religious ferment, it makes sense to do some stocktaking.  Let's go back to the book that started the whole shebang." 

Moyers's panelists included Catholics, Protestants, Jews, Muslims, a Hindu, a Buddhist, and several agnostics. Not included, however, were persons who could represent Gnostic Christianity, one of the most ancient and at the same time most timely and creative approaches to the interpretation of the Bible. Nor was there any appreciable mention of Gnostic views in the cover story of Time magazine (October 28,1996), which followed upon the television series, or in several books published in the ensuing months. 

Had the recent revival of interest in Genesis occurred fifty or sixty years ago, this omission might have been understandable. Sources offering alternative interpretations of the Book of Genesis then were few and far between. All this changed, however, after 1945, when a veritable treasure trove of Gnostic scriptures was discovered in the Nag Hammadi valley in upper Egypt. This discovery would transform the character of biblical studies forever. The Nag Hammadi scriptures contain numerous creative variants of biblical teachings. 

A Different View of Adam and Eve
 
William Blake, the Gnostic poet of the early nineteenth century, wrote of the differences between his view and the mainstream view of holy writ: 'Both read the Bible day and night; but you read black where I read white." The same words could have been uttered by Gnostic Christians and their orthodox opponents in the first three or four centuries A.D. 

The orthodox view then regarded most of the Bible, particularly Genesis, as history with a moral. Adam and Eve were considered to be historical figures, the literal ancestors of our species. From the story of their transgression, orthodox teachers deduced specific moral consequences, chiefly the "fall" of the human race due to original sin. Another consequence was the lowly and morally ambivalent status of women, who were regarded as Eve's co-conspirators in the fateful deed of disobedience in paradise. Tertullian, a sworn enemy of the Gnostics, wrote to the female members of the Christian community thusly:
. . . you are the devil's gateway. . . you are she who persuaded him whom the devil did not dare attack. . . . Do you not know that you are each an Eve?  The sentence of God on your sex lives on in this age; the guilt, necessarily, lives on too.
The Gnostic Christians who authored the Nag Hammadi scriptures did not read Genesis as history with a moral, but as a myth with a meaning. To them, Adam and Eve were not actual historical figures, but representatives of two intrapsychic principles within every human being. Adam was the dramatic embodiment of psyche, or soul, while Eve stood for the pneuma, or spirit. Soul, to the Gnostics, meant the embodiment of the emotional and thinking functions of the personality, while spirit represented the human capacity for spiritual consciousness. The former was the lesser self (the ego of depth psychology), the latter the transcendental function, or the "higher self," as it is sometimes known. Obviously, Eve, then, is by nature superior to Adam, rather than his inferior as implied by orthodoxy. 

Nowhere is Eve's superiority and numinous power more evident than in her role as Adam's awakener. Adam is in a deep sleep, from which Eve's liberating call arouses him. While the orthodox version has Eve physically emerge from Adam's body, the Gnostic rendering has the spiritual principle known as Eve emerging from the unconscious depths of the somnolent Adam. Before she thus emerges into liberating consciousness, Eve calls forth to the sleeping Adam in the following manner, as stated by the Gnostic Apocryphon of John:
I entered into the midst of the dungeon which is the prison of the body. And I spoke thus: "He who hears, let him arise from the deep sleep." And then he (Adam) wept and shed tears. After he wiped away his bitter tears he spoke, asking: "Who is it that calls my name, and whence has this hope come unto me, while I am in the chains of this prison?" And I spoke thus: "I am the Pronoia of the pure light; I am the thought of the undefiled spirit. . . .  Arise and remember . . . and follow your root, which is I . . . and beware of the deep sleep."
In another scripture from the same collection, entitled On the Origin of the World, we find further amplification of this theme. Here Eve whose mystical name is Zoe, meaning life, is shown as the daughter and messenger of the Divine Sophia, the feminine hypostasis of the supreme Godhead:
Sophia sent Zoe, her daughter, who is called "Eve," as an instructor in order that she might raise up Adam, in whom there is no spiritual soul so that those whom he could beget might also become vessels of light. When Eve saw her companion, who was so much like her, in his cast down condition she pitied him, and she exclaimed: "Adam, live! Rise up upon the earth!" Immediately her words produced a result for when Adam rose up, right away he opened his eyes. When he saw her, he said:  "You will be called 'mother of the living', because you are the one who gave me life."
In the same scripture, the creator and his companions whisper to each other while Adam sleeps: "Let us teach him in his sleep as though she (Eve) came to be from his rib so that the woman will serve and he will be lord over her." The demeaning tale of Adam's rib is thus revealed as a propagandistic device intended to advance an attitude of male superiority. It goes without saying that such an attitude would have been more difficult among the Gnostics, who held that man was indebted to woman for bringing him to life and to consciousness.
The Western theologian Paul Tillich interpreted this scripture as the Gnostics did, declaring that "the Fall" was a symbol for the human situation, not a story of an event that happened "once upon a time." Tillich said that the Fall represented "a fall from the state of dreaming innocence" in psychological terms, an awakening from potentiality to actuality. Tillich's view was that this "fall" was necessary to the development of humankind. 

The Serpent of Wisdom
 
The sin of Eve, so the orthodox tell us, was that she listened to the serpent, who persuaded her that the fruit of the tree would make her and Adam wise, without any deleterious side-effects. It was Eve who then seduced the righteously reluctant Adam to join her in this act of disobedience, and thus together they brought about the fall of humanity. 

A Gnostic treatise, The Testimony of Truth, tells a different story. While repeating the words of the orthodox version of Genesis, the Gnostic source states that "the serpent was wiser than all the animals that were in Paradise." After extolling the wisdom of the serpent, the treatise casts serious aspersions on the creator: "What sort is he then, this God?" Then come some of the answers to the rhetorical question. The motive of the creator in punishing Adam was envy, for the creator envied Adam, who by eating the fruit would acquire knowledge (gnosis). Neither did the creator seem quite omniscient when he asked of Adam: "Where are you?" The creator has shown himself repeatedly to be "an envious slanderer," a jealous God, who inflicts cruel punishments on those who transgress his capricious orders and commandments. The treatise comments: "But these are the things he said (and did) to those who believe in him and serve him." The implication clearly presents itself that with a God like this, one needs no enemies. 

Another treatise, The Hypostasis of the Archons, informs us that not only was Eve the emissary of the divine Sophia, but the serpent was similarly inspired by the same supernal wisdom. Sophia mystically entered the serpent, who thereby acquired the title of instructor. The instructor then taught Adam and Eve about their source, informing them that they were of high and holy origin and not mere slaves of the creator deity. 

What, one may ask, motivated the Gnostic interpreters of Genesis to make these unusual statements? Were they purely motivated by bitter criticism directed against the God of Israel, as the Church Fathers would have us believe? Many contemporary scholars do not think so. These contemporary scholars suggest that the unfavorable image of the creator contrasted with the favorable one of Adam, Eve, and even of the serpent alludes to an important issue not frequently recognized. 

The orthodox interpreters, both Jewish and Christian, tend to emphasize the distinction between the infinite creator and his finite creatures. Humans and animals are on earth, while God is in heaven, and never the two will meet. The orthodox have held, with Martin Buber, that the human's relationship to God is always "I and Thou." In the Gnostic position one can discern a keynote that is reminiscent of the attitude of certain other religions, notably Hinduism, which rather declares: "I am Thou." 

The Gnostics share with the Hindus and with certain Christian mystics the notion that the divine essence is present deep within human nature in addition to being present outside of it. At one time humans were part of the divine, although later, in their manifest condition, they more and more tended to project divinity onto beings external to themselves. Alienation from God brings an increase in the worship of deities wholly external to the human. The Gospel of Philip, another scripture from Nag Hammadi, expresses it well:
In the beginning God created humans. Now, however, humans are creating God. Such is the way of this world-humans invent gods and worship their creations. It would be better for such gods to worship humans.
True God, False God
 
When discussing the story of Noah and the flood, author Karen Armstrong (A History of God, 1993), as a panelist on Moyers's program, asserted that God is "not some nice, cozy daddy in the sky," but rather a being who decidedly behaves frequently "in an evil way." With his actions in connection with the flood, Armstrong said, God originated the idea of justifiable genocide. Hitler and Stalin, one might deduce, acted on the instruction of such stories as that of the flood and of Sodom and Gomorrah when instituting the holocaust and the camps of the Gulag. Had the panelists called on Gnostic scriptures, they could have quoted many precedents for Armstrong's criticism of the vengeful God of the Old Testament. 

The Gnostic Hypostasis of the Archons, for example, states that the cause of the flood was not the turning of humans to wickedness, causing God to repent of his creation, as the "official" version of Genesis declared. Quite the contrary, people were becoming wiser and better, so an envious and spiteful creator decided to wipe them out in the flood. Noah was told by the creator to build an ark and place it atop Mount Seir-a name that does not occur in Genesis, but in one of the psalms referring to the flood. Noah's wife, unnamed in Genesis but called Norea by the Gnostics, is a special person, possessing more wisdom than her husband. Norea is the daughter of Eve and a knower of hidden things. She tries to dissuade her husband from collaborating with the schemes of the creator, and ends up burning down the ark which Noah had built. 

 The creator and his dark angels then surround Norea and intend to punish Norea by raping her. Norea defends herself by refuting various false claims they make. Ultimately she cries out for help to the true God, who sends the golden Angel Eleleth (Sagacity), who not only saves her from the attack of the creator's dark servants, but also teaches her regarding her origins and promises her that her descendants will continue to possess the true gnosis. 

There are other scriptures of the Nag Hammadi collection that repeat or refer to the story of Norea, including the Apocryphon of John and The Thought of Norea. The former does not mention her by name, but states that Noah's descendants were wise ones who were hidden in a luminous cloud, adding significantly, "[This was not] as Moses said, 'They were hidden in the ark."' In the latter it is not only one angel but "three holy helpers" who intercede on her behalf. 

It is quite apparent that the creator god who visits humanity with the disaster of the flood is not identical with the "true God" to whom Norea calls out for help. Viewing the character of the deity of Genesis with a sober, critical eye, the Gnostics concluded that this God was neither good nor wise. He was envious, genocidal, unjust, and, moreover, had created a world full of bizarre and unpleasant things and conditions. In their visionary explorations of secret mysteries, the Gnostics felt that they had discovered that this deity was not the only God, as had been claimed, and that certainly there was a God above him. 

This true God above was the real father of humanity, and, moreover, there was a true mother as well, Sophia, the emanation of the true God. Somewhere in the course of the lengthy process of pre-creational manifestation, Sophia mistakenly gave life to a spiritual being, whose wisdom was greatly exceeded by his size and power. This being, whose true names are Yaldabaoth (child of the chaos), Samael (blind god), and also Saclas (foolish one), then proceeded to create a world, and eventually also a human being called Adam. Neither the world nor the man thus created was very serviceable as created, so Sophia and other high spiritual agencies contributed their light and power to them. The creator thus came to deserve the name "demiurge" (half maker), a Greek term employed in a slightly different sense by philosophers, including Plato. 

To what extent various Gnostics took these mythologies literally is difficult to discern. What is certain is that behind the myths there are important metaphysical postulates which have not lost their relevance. The personal creator who appears in Genesis does not possess the characteristics of the ultimate, transcendental "ground of being" of which mystics of many religions speak. If the God of Genesis has any reality at all, it must be a severely limited reality, one characterized by at least some measure of foolishness and blindness. While the concept of two Gods is horrifying to the monotheistically conditioned mind, it is not illogical or improbable. Modem theologians, particularly Paul Tillich, have boldly referred to "the God above God." Tillich introduced the term "ground of being" as alternative language to express the divine. The ideas of the old Gnostics seem not so outdated after all. 

The Mysteries of Seth
 
Almost anyone today could declare that Adam and Eve had two sons, Cain and Abel. The third son is more difficult to name; he is Seth. The third son was provided by God as a replacement for the slain Abel, according to Genesis. He was sired rather late in life by Adam, for Adam is said to have been 130 years old at the time. The historian Josephus wrote that Seth was a very great man and that his descendants were the discoverers of many mysterious arts, including astrology. The descendants of Seth then inscribed the records of their occult discoveries, according to Josephus, on two pillars, one brick, the other stone, so that they might be preserved in times of future disasters. 

In the treatise The Apocalypse of Adam, the Gnostics presented us with a scripture that tells not only of Seth (and his father) but of the future of the esoteric tradition of gnosis in ages to come. It begins:
The disclosure given by Adam to his son Seth in his seven hundredth year. And he said: "Listen to my words, my son Seth. When God created me out of the earth, along with Eve your mother, I went along with her in a glory which she had seen in the aeon from which she came forth. She taught me the word of Gnosis of the eternal God. And we resembled the great eternal angels, for we were higher than the God who created us."
After thus informing us once again of the spiritually superior status of Eve, the scripture goes on to recount how the creator turned against Adam and Eve, robbing them of their glory and their knowledge. Humans now served the creator "in fear and in slavery," so Adam stated. While previously immortal, Adam now knew that his days were numbered. Therefore, he said he now wanted to pass on what he knew to Seth and his descendants. 

In the prediction it becomes apparent that "Seth and his seed" would continue to experience gnosis, but that they would be subject to many grave tribulations. The first of these would be the flood, during which angels would rescue the Gnostic race of Seth and hide them in a secret place. Noah, on the other hand, would advise his sons to serve the creator God "in fear and slavery all the days of your life." After the return of the illumined people of Seth's kind, the creator would once again wrathfully turn against them and try to destroy them by raining fire, sulfur, and asphalt down on them-an allusion, perhaps, to the story of Sodom and Gomorrah. Once again many of the Gnostics would be saved by being taken by great angels to a place above the domain of the evil powers. 

Much later there would be a new era with the coming of the man of light ("Phoster"), who would teach gnosis to all. The Apocalypse of Adam concludes with this passage:
This is the hidden knowledge of Adam which he gave to Seth, which is the holy baptism of those who know the imperishable Gnosis through those who are born of the Logos, through the imperishable Illuminator, who himself came from the holy seed (of Seth) Jesseus, Mazareus, Jessedekeus.
These names, which are obviously versions of the name of Jesus (they are found in other scriptures also), identify the culmination of the Gnostic tradition in the figure of Jesus. The "Race of Seth" is thus a biblical metaphor for those following this tradition. In the Gnostic book Pistis Sophia, Jesus identifies himself as coming from the "Great Race of Seth". 

Old Answers to New Controversies
 
The current interest in Genesis raises many serious questions. Not a few of these have been illuminated by the neglected light shed by the scriptures quoted earlier. Not unlike the old Gnostics, today's questioning scholars and laypersons are provoked by Genesis to critiques and even to inventions of new variations on the ancient theme. Consider how deeply the social conditions of many countries have been influenced by the picture the orthodox version of Genesis presents concerning Eve and, by implication, women in general. Any of the several scriptures of the Nag Hammadi collection would shed an entirely different and more benign light on these issues. 

Secondly, consider the political implications of the story of Genesis. Elaine Pagels, in her fascinating book Adam, Eve, and the Serpent (1988), pointed out that the long-held attitude of the Christian church of submitting to greatly flawed systems of secular government was usually justified by the "fallen condition" of humanity as first described in Genesis. Following largely the interpretations of Saint Augustine, most Christians felt that even bad governments were to be preferred to liberty because humans are so corrupted by Adam and Eve's original sin that they are in capable of governing themselves. The libertarian fervor of the eighteenth and nineteenth centuries that gave rise to the American and French revolutions was clearly not motivated by the spirit of Genesis. The statement that "all men are created equal" does not occur in that scripture, but sprang from the inspiration of the American revolutionaries, who drew from Hermetic, Gnostic, and similar non-mainstream sources. 

Thirdly, there remains the terrifying problem of the character of the God of Genesis. Agreeing with Karen Armstrong, we find Jack Miles, in his provocative book God: A Biography writing: "Much that the Bible says about him is rarely preached from the pulpit because, examined too closely, it becomes a scandal." Perhaps we may need to take a second look at the Gnostic proposition that the creator mentioned in Genesis is not the true and ultimate God. The unfavorable potential present in the Book of Genesis did not go unnoticed throughout history. Rabbi Johanan ben Zakkai, a religious teacher prominent in the years after A.D. 70, warned that the Genesis story of creation should not be taught before even as many as two people. Saint Jerome, who translated the Bible into Latin, wrote that many of the narratives in the Old Testament were "rude and repellent." He certainly included those in Genesis. 

The Dinka tribesmen of the Sudan have a point. The creation myth of any culture has a profound effect on the attitudes, social mores, and political systems that prevail. So long as the Book of Genesis remains a basic text for Jews, Christians, and Muslims we can expect the societies within which these religions flourish to be influenced by this book. Still, there is some hope on the horizon. Although the Gnostic alternatives to the content of Genesis are still usually neglected, as indeed they were on television and in the press last year, some prominent figures of our culture are beginning to take notice. To mention but one such figure, Harold Bloom has become one of the most prominent voices calling attention to the creative character of the Gnostic alternative to mainstream religion. His books American Religion (1992) and Omens of Millennium (1996) have made a powerful case for the timeliness and perennial value of the positions taken by Christian Gnostics, Jewish Kabbalists, and Sufi mystics, all of whom are inspired by a common gnosis. It may be useful to conclude with an incisive and in our view definitive statement from the pen of this scholar:
If you can accept a God who coexists with death camps, schizophrenia, and AIDS, yet remains all-powerful and somehow benign, then you have faith, and you have accepted the covenant with Yahweh.... If you know yourself as having an affinity with the alien or stranger God, cut off from this world, then you are a Gnostic, and perhaps the best and strongest moments still come to what is best and oldest in you, to a breath or spark that long precedes this Creation.

Sunday, September 11, 2011

On the Magic Island


On The Magic Island

By W.B. Seabrook with illustrations by Alexander King.

In 1929 a travelogue was released that would, through the chain reaction it set off, have a profound effect on American popular culture and by extension the American collective consciousness. It was written by a fellow with a questionable resume of personal traits said to include alcoholism, occultism, sensory deprivation, and sadism, who would ultimately commit suicide by pill-overdose. His is not a household name, and is rarely spoken, yet it is through the continued fascinated invocation of another name altogether that we unknowingly evoke his legacy: Zombie! Zombie!! Zombie!!!

He was William Buehler Seabrook, a reporter and Lost Generation writer (claiming the minor distinction of having written the first celebrity rehab tell-all) and it was his book, The Magic Island, a sensationalized account of his voodoo-mad travels throughout Haiti, that first ushered our beloved un-dead bugaboo, the zombie, onto American shores.

Though The Magic Island did not represent the first usage in English print of the word zombie (it appeared as a term connected to a Voodoo snake god much earlier) as the author later claimed in his autobiography, Seabrook’s book was the first popular English language text to confront the phenomena of the Haitian “living dead” head-on. The book referred to these shambling, dead-eyed, unfortunates as “Zombies” + and they have moved, at varying speeds, among us ever since.

The popularity of his book, with its sensational but not altogether unsympathetic characterizations, dovetailed perfectly with a zeitgeist that would also yield the nearly concurrent release of Hollywood’s iconic monster features. The result of which was an immediate pop-cultural embrace, bringing this new terror into our stable of more veteran ghouls like Dracula and Frankenstein without so much as a second interview. Seabrook’s book was all it took.

The giddy excitement entertainers felt at having a new abomination to play with resulted, almost immediately, in a broadway play—Kenneth Webb’s 1932 flop Zombie—and a film—the infamous 1932 indie, and granddaddy of all zombie flicks, White Zombie—not to mention multiple lawsuits. A scant 3 years after America first saw the word in print courts were obliged to rule “zombies” as being in the public domain. And are they ever. After 1932 it is a truly rare thing for a year to pass by completely undisturbed by the walking dead. 

Zombie! Zombie!! Zombie!!!

Though it is most notable for this popularization The Magic Island, a 336p book, in actuality only devoted 12 scant pages, a single chapter titled “...Dead Men Working in the Cane Fields” to le culte des morts’ handiwork. The rest of the book is full of sensational tales of ritual, magic, sacrifice, potions, feverish midnight sex-dances, and all of the objective reportage one might expect from an alcoholic, occult-dabbling, middle-aged white man traveling through Haiti in the 1920’s.

A search for more info on Mr. King does not offer much.
AskArt offers us this: “Described as a thief, morphine addict, failing playwright and painter, Alexander King was a man of iconoclastic observations and caustic humor who began his career as a painter of human figures, focused primarily on the face. Then he became an art thief, stealing fifty prints from the Metropolitan Museum. He was jailed twice, and married four times.”

While the IMDb says only: “Alexander King, by his own admission, had a very checkered career before becoming racontuer on residence during the Jack Parr years of “The Tonight Show”. A veteran newspaperman turned press agent, he published his various anecdotes in a series of off-beat books that were very popular at the time. Nearly forgotten today, King, who claimed to have been married five times, was a fixture on the TV talk show circuit from roughly the mid-1950s until his death in 1965.”

Various searches do reveal, without a doubt, that he illustrated many books throughout the 30’s and 40’s however, and with the pedigree outlined above, he was a perfect match for Seabrook and his Magic Island.
Below I’ve reproduced 9 of King’s illustrations from The magic Island including, for a few, some corresponding text by Seabrook. Have a look…







Quote: “Louis, son of Catherine Ozias of Orblanche, paternity unknown—and thus without a surname was he inscribed in the Haitian civil register—reminded me always of that proverb out of hell in which Blake said, “He whose face gives no light shall never become a star.” It was not because Louis’ black face, frequently perspiring, shone like patent leather; it glowed also with a mystic light that was not always heavenly. For Louis belonged to the chimeric company of saints, monsters, poets, and divine idiots. He used to get besotted drunk in a corner, and then would hold long converse with seraphim and demons, also from time to time with his dead grandmother who had been a sorceress.”



Quote: “The celebrants approached, processionally, singing, from the mystery house. At the head came the papaloi, an old man, blue-overalled, bare-footed, but with a surplice over his shoulders and a red turban on his head, waving before him the açon, a gourd-rattle wound round with snake-vertebrae. At his right and left, keeping pace with him, two young women held aloft, crossed above his head, two flags on which were serpentine and cabalistic symbols, sewn on with metallic, glittering beads. Behind him marched a young man bearing aloft, horizontally on his upstretched palms, a sword, and next the mamaloi, a woman in a scarlet robe and feathered headdress, who revolved as she progressed in a sort of dervish dance; next came marching, two and two, a chorus of twenty or more women robed in white, with white cloths wound bandana-wise on their heads, and as they slowly marched they chanted:

Damballa Oueddo,
Nous p’ vim

 
It would be best translated, I think, Oh, Serpent God, we come.







Quote: “In the red light of torches which made the moon turn pale, leaping, screaming, writhing black bodies, blood-maddened, sex-maddened, god-maddened, drunken, whirled and danced their dark saturnalia, heads thrown weirdly back as if their necks were broken, white teeth and eyeballs gleaming, while couples seizing one another from time to time fled from the circle, as if pursued by furies, into the forest to share and slake their ecstasy.”



Quote: “One of the most dreaded forms of Haitian-African magic includes the dressing of a corpse in a garment of the person marked for vengeance and then exposing it to rot away in some secret place in the jungle. Men have gone stark mad seeking that jungle-hidden horror, and others have died hopelessly, searching. Fear, hunger, thirst, jungle-terror, one may say. Names again, tags, labels. But marked for death by the Voodoo curse, they died.”






Quote: “It seemed that while the zombie came from the grave, it was neither a ghost, nor yet a person who had been raised like Lazarus from the dead. The zombie, they say, is a soulless human corpse, still dead, but taken from the grave and endowed by sorcery with a mechanical semblance of life—it is a dead body which is made to walk and act and move as if it were alive. People who have the power to do this go to a fresh grave, dig up the body before it has had time to rot, galvanize it into movement, and then make of it a servant or slave, occasionally for the commission of some crime, more often simply as a drudge around the habitation or the farm, setting it dull heavy tasks, and beating it like a dumb beast if it slackens.”

So while this text offers the first English language popularization of the word “zombie” those last 3 Illustrations, interestingly, represent the first images anyone associated the word. All in all fascinating bit of pop-cultural, if not exactly ethnographic or anthropological, history.

Jay A. Graybeal says in his terrific summation of Seabrook’s story: “Big lusty, restless, red-haired William Buehler Seabrook spent more than 20 years seeking fantastic adventure, then putting what he found into books which thrilled some, shocked many.  But he never will write the story of his greatest adventure. Secretly and alone he embarked upon it not long ago by way of an overdose of sedative. The coroner says Bill Seabrook committed suicide. But his friends have a different explanation for what happened.  They say he only was making another more drastic attempt to accomplish what he had tried, vainly, all his life to do—to get away from himself.”

Aleister Crowley, an acquaintance of Seabrook’s, put it rather more bluntly in a diary entry: “The swine-dog W. B. Seabrook has killed himself at last.”

In 1966, a year after his death, a critic writing a review for a Seabrook biography said: “his principal literary contribution, it would seem, is the word zombie.” That may in fact be the truth. But how very impressive, built as it was on 12 short pages of reportage, that contribution turned out to be.

Zombie! Zombie!! Zombie!!!

Tuesday, September 6, 2011

Harry Crosby



"Live fast, die young and leave a good looking corpse."  It's been the promise of many would-be rebels down the years, but just how many of them have stuck to their guns?  Enter, in a burst of light, Harry Crosby - poet, pilot, sun-worshipper, self-tyled genius and the best looking corpse of 1929.
           Crosby was born on 4 June 1898 into a wealthy and ultra- respectable Boston family (his uncle was J.P. Morgan the millionaire).  In 1917 he joined the Ambulance corps and saw action at the Somme and Verdun, witnessing (by his own description) terrible carnage.  On the 22 November a shell exploded next to his ambulance 'vaporising it'.  One person died and one of Crosby's friends, driving an ambulance ten yeards behind, was badly injured.  Crosby however landed on the ground completely unhurt and it was from the this experience that he lost all fear of death.  Instead he became obssessed with the idea of choosing the time of his own death, of dying at exactly the right moment.  And he was someone who believed it was better to be too soon than too late.
           On his return from the war Cosby took to painting his fingernails black and insulting guests at the best social finctions, and -worst of all- he fell in love with a married woman.  This was Polly Peabody, the inventor of the wireless bra.  When things got too hot for them in Boston they moved to Paris where Polly changed her name to Caress, both decided they wanted to be poets.
           Crosby immersed himself in the work of decadents like Rimbaud and Baudelaire, and came to the conclusion, not unreasonable, that the only way he could transform himself from ordinary to genius was via the shortcut of madness.  He therefore embarked on a rigorous corriculum of smoking opium, taking heroin, gambling recklessly and flying planes dangerously. "PLEASE SELL $100,000 WORTH OF STOCK," read one of his cables to his increasingly despairing father, "WE HAVE DECIDED TO LIVE A MAD AND EXTRAVAGENT LIFE."  And extravangent it was, their parties attracted such notables as Salvador Dali, Douglas Fairbanks and Prince George of England.
           Crosby also found time to churn out a steady stream of poetry which he published under his own label Black Sun Press, the same press that later went on to publish works by friends like D.H. Lawrence and James Joyce.  Most of Crosby's poems reflect the religion which had devised for himself - an ecstatic worship of the sun.  He took his praying to the sun seriously and, like any good magician, made up his own elaborate rituals.
           In his poems Crosby often refers to his death wish.  Of course, whether poetry like this is crap or not depends on how serious the poet is, and Crosby was serious.  Ideally he wanted to die with Caresse, and was in the habit of asking her to jump off the tops of tall buildings with him, but she kept putting him off.  So did his various mistresses when he brought the subject up.  It wasn't until Josephine Rotch came along that Crosby met his match in obsessiveness.
           She was another Boston girl with a reputation for being 'fast'.  He met her in January of 1929 while she was on holiday in Venice.  "She was mad and madness is very appealing especially to me who is mad," he wrote excitedly to his mother, who must have been thrilled.
           On 10 December Crosby had arranged to have tea with Caresse, his mother and J.P. Morgan.  He failed to appear and a friend was sent to check on him.  Receiving no response to his knocking, he had the door broken down with an axe.  Inside, Harry and Josephine lay on the bed, holding hands, a bullet hole in his right temple and one in her left.  In his pocket was a one-word telegram from Josephine - "YES".  He was 31 years old, she was 21.



Fragment of an Etude for a Sun-Dial


let the Sun shine
(and the Sun shone)

on a wooden dial
in the garden of an old castle
(dumb when the Sun is dark)

on a pillar dial
in the Cimetière de l’Abbaye de Longchamp
(Blessed be the name of the Sun for all ages)

on the wall of an imaginary house
Rue du Soleil Paris
(the initials of the makers H.C. and C. C. and
date October Seventh 1927 are on the face)
(true as the dial to the Sun)

on a small stone dial
over the door of a farm
(Sole oriente orior
Sole ponente cubo)

on the exterior of a ring dial
worn on the finger of the Princess Jacqueline
(“Es-tu donc le Soleil pour vouloir que je me
tourney vers toi!?)

on the dial on the south wall
of a tower
(the Sun is the end of the journey)

and thee is a second dial
on the north tower
(I tarry not for the slow)

on a dial
over an archway in a stableyard
(norma del tempo infallibile io sono)
(I am the infallible measure of the time)

on a dial
in a garden in Malta

on a dial at Versailles

on an old Spanish dial
(the dial has now, 1928, disappeared a
railroald line having been taken through the
garden where it stood)

on the wall of the
Bar de la Tempete at
Breast facilng the sea
(c’êst l’heure de boire)

on a small brass dial in
the British Museum
on a silver dial in the
Musuem at Copenhagen
on a gold dial on the
soul of a Girl
(“mais à mon âme la nécessité de ton âme”)

let the Sun shine
(and the sun shone)

on a dial placed upon the
deck of the Aeolus
in the harbor of New London
on a dial placed upon the
deck of the Aphrodisiac
in the harbor of Brest
on a dial placed upon
the deck of the Aurora
in the harbor of my Heart
(“et quelques-uns en eurent connaissance”)

let the Sun shine
(and the Sun shone)

on pyramids of stones
on upright stones in
ancient graveyards
on upright solitary stones
on bones white-scattered on the plain
the white bones of lions in the sun
the white lion is the phallus of the Sun
“I am the Lions I am the Sun”

on the dial of Ahaz who
reigned over Judah

on a rude horologe in Egypt
(“as a servant earnestly)
desireth the shadow”)

on the eight dials of
the Tower of the Winds at Athens

on old Roman coins
unburied from the ground

on the twin sundials on
the ramparts of Carcassone

on the pier at Sunderland
(and where is the sound
of the pendulum?)

on the sun-dials on the mosques
of Saint Sophia
of Muhammed
and of Sulimania

on the imeense circular
block of carved porphyry
in the Great Square of
the City of Mexico

on Aztec dials
on Inca dials
(Femme offer ton Soleil en adoration aux Incas)

on Teutonic dials built
into the walls of
old churches

on the dial of the Durer Melancholia
(above the hour-glass and near the bell)

on the white marble slab
which projects from the
façade of Santa Maria Della Salute
on the Grand Canal Venice

on the dial of the Cathedral at Chartres
(“the strong wind and the snows”)

on a bedstead made of bronze
(and Heliogabalus had one of solid silver)

on a marriage bed
(lectus genialis)
in a death bed
(leactus funebrius)

on a bid
style à la marquise
(“ayant peur de mourir lorsque je couche seul”)

on a bed
lit d’ange

on a flower bed
on a bed of mother-of-pearl
on a bordel bed
on a bed of iniquity
on a virgin bed
on a bed or rock

To God the Sun Unconquerable
to the peerless Sun, we only

let the Sun shine
(and the Sun shone)

Soli Soli Soli

Thursday, August 18, 2011

Empusa ::: Domain


I think this album is one of the greatest industrial albums ever made!  Honestly, every song is awesome.  Industrial perfection you must download right now!  Very highly recommended!!!

Tracklist:
01. Domain (1:44)
02. Desperate (5:53)
03. Slave (5:05)
04. Fallujah (5:38)
05. Dominion (5:25)
06. Broken (6:08)
07. Cybersex (5:56)
08. Therapy (3:28)
09. Careless (5:24)
10. Found (4:48)
11. Empty (4:20)
12. Never (3:39)

Preview:


Download here:

https://mega.co.nz/#!N48wSYyZ!BpjnIOmV3lONgBrOdXMuXVwnOlEkkPg5yJoYvlKnyGc

Friday, August 12, 2011

Buddhist Influence on Aleister Crowley

by Dead Jellyfish
[This article originally appeared in Ashe Journal issue 3.1 2004]

In examining the doctrines and teachings of the majority of modern occult traditions one finds themes relating to Aleister Crowley recurring quite frequently. These schools of Western esoteric practice bear very little in common with each other except for their common ties to Crowley. One could easily devote one’s life to tracing Crowley’s influence on various different magical lodges and other organizations, but that is not my intent here. A more interesting, and perhaps more valuable task would be to flush out what it was that influenced Crowley himself. A quick look at any of his material soon shows that Crowley was quite an eclectic fellow and borrowed ideas and imagery from many different traditions. Crowley’s title of Ankh-F-N-Khonsu, and use of the Gods Horus, Hadit, and Nuit within The Book of the Law show his use of Egyptian mythology and religion. The title of the Beast that he also uses for himself within The Book of the Law shows the impact that Christian apocalyptic ideology has had on him.

Of the many different forms of religion that have influenced Crowley, Buddhism would probably be one of the last of which most people would think of. The Book of the Law does not speak very kindly of Buddhism: “With my [the Egyptian God Horus] claws I tear out the flesh of the Indian and the Buddhist, Mongol and Din.” (Crowley, 1976, pg. 47) I intend to show, however, that this statement is quite misleading and that Crowley did indeed have a fair amount of Buddhist influence in his work. Unfortunately Crowley was quite prolific in his writing and a close, scrutinizing exegesis of his works is certainly out of the question for an essay of such a small size. Instead we shall examine some of his more obscure writings which seem to have been swept under the rug, and examining his most important book: The Book of the Law. If we can show that The Book of the Law had significant Buddhist influence then one can confidently say that all of Crowley’s work has at least some Buddhist influence since The Book of the Law provides the groundwork for the majority of the rest of his writing.

Most of Crowley’s views on Buddhism are laid out for us clearly in his essay Science and Buddhism. The goal of Crowley’s essay is to compare modern scientific conceptions with Buddhism and show that Buddhism is a ‘scientific religion’. The fact that Crowley chose such a goal for his paper is not surprising at all considering the era in which he lived in. A large momentum of movements comparing science and religion had been built by the time that Crowley had written this essay (1903). Key to this scientific religion movement was Paul Carus (b. 1852). Carus’ goal was to propound, develop, and establish the Religion of Science... In order to establish the Religion of Science it is by no means necessary to abolish the old religions, but only to purify them and develop their higher possibilities, so that their mythologies shall be changed into strictly scientific conceptions. It is intended to preserve of the old religions all that is true and good, but to purify their faith by rejecting superstitions and irrational elements, and to discard, unrelentingly, their errors. (Sharf, pg. 14)

Carus’ search for scientific religious truth eventually lead him to Buddhism which he saw as being the religious tradition that was best representative of his Religion of Science. The influence of Carus on Crowley is unmistakable since we find Crowley immediately stating that he does not want to take literal interpretations of obviously fictional passages, “but when Buddhism condescends to be vulgarly scientific; to observe, to classify, to think; I conceive we may take the matter seriously, and accord a reasonable investigation to its assertions.” (Crowley, 1906, pg. 245)

Crowley begins his scientific examination of Buddhism with the Four Noble Truths. The first truth is that existence is sorrow. Crowley claims that the same truth is stated by Huxley in Evolution and Ethics, and that Huxley also states that the amount of pain that a creature endures varies with the degree of consciousness of the being. The second Noble Truth is that the cause of suffering is desire. Here, Crowley’s comparison of science and Buddhism becomes a little preposterous. He includes under the category of suffering the tendency of two molecules of hydrogen and chlorine to combine under certain conditions. He reasons that if death is painful to himself that it is also so for a molecule. The existence of desire is unpleasant - particularly the desire to continue to exist. The third truth is that the cessation of desire is the cessation of sorrow. This is of course is a simple logical inference from the second truth and needs no further explanation. The final truth is that there is a method of realizing the third truth, which is the eightfold path. As science progresses it tries to increase the happiness in our lives, and decrease the amount of suffering and thus it has similar goals to Buddhism.

In comparing Buddhist cosmology and science Crowley tries to show that the law of karma is identical to the law of causation. He gives the example “if I place a stone on the roof of a house, it is sure to fall sooner or later; i.e. as soon as the conditions permit.” (Crowley, 1906, pg. 249)

The next area of Buddhist cosmology that Crowley looks at are the three characteristics, which are change (anikka), sorrow (dukkha), absence of an Ego (anatta). To explain anikka Crowley once again refers us to Huxley who claims that what we perceive to be at rest is really unperceived activity, and “in every part, at every moment, the state of the cosmos is the expression of a transitory adjustment of contending forces, a scene of strife, in which all the combatants fall in turn.” (Crowley, 1906, pg. 246) Crowley utilizes the arguments of George Berkeley (“matter is immaterial”) to do away with Hindu ideas of a changeless, and perfect atman. The arguments of David Hume are added to those of Berkeley, doing away with the mind as well - since we don’t really have any proof for the existence of one’s own ego, except for the circular Cartesian “I am” argument which is no proof at all. Crowley with an example makes this more clear. (Crowley, 1906, pg. 247) The ordinary person makes the claim, “I lift my arm.” The Buddhist instead states, “There is a lifting of an arm.” This is known to the Buddhist through sensation and consequently our earlier statement becomes, “There is a sensation of the lifting of an arm.” The sensation is perceived by the Buddhist and now we have, “There is a perception of a sensation of the lifting of an arm.” The perception is caused by the inherent tendency to perceive we have, “There is a tendency to perceive the sensation of the lifting of an arm.” The last step we are able to make is to the consciousness of the tendency, and our final claim is, “There is a consciousness of a tendency to perceive the sensation of a lifting of an arm.” It is not possible to go further back, because there is no reason to believe, without any evidence, that there is some unity behind all consciousness.

The three characteristics are further explained by Crowley in his own jataka tale entitled The Three Characteristics. The story is framed by a larger tale of Sakyamuni telling a jataka story to a group of arahats in modern India. Gautama’s tale begins with the weaver Suraj Ju and his wife Chandi who have a child Perdu’ R Abu. This name is significant since perdurabo was Crowley’s motto while he was a member of the Golden Dawn which he joined in 1898. Perdu’ R Abu grew up, built a house and had wives. He saw his wives grow old and saw that a change occurred, and that in his heart a change also occurred. He examined other things in the wilderness and determined that everything is doomed to change, is subject to sorrow, and lacks any Ego.

Jehjaour, an evil magician, saw Perdu’ R Abu in his crystal ball, and realized that Abu was not far away from enlightenment and upon Abu’s arahatship Jehjaour would be destroyed. The name of Jehjaour is also significant because Iehi Aour (“Let there be light”) is the magical motto that Allan MacGregor Bennett took on for himself, and thus his role as the villain in this Jataka is indicative of Crowley’s falling away from the Golden Dawn. Jehjaour appealed to many different Deities for help to no avail. Eventually, though, he did procure the favour of Ganesha who was upset that Perdu’ R Abu had abandoned Him claiming that the Gods are just as mortal as humans. Ganesha told Jehjaour that in only seven rebirths Abu will cease to be reborn, and that they must ensure that each of Abu’s rebirths are as long as possible.

First Perdu’ R Abu is reincarnated as an elephant - the longest living of the beasts. This perceptive elephant took notice of the changes of the seasons, saw the forest as being full of sorrow, and “nobody need preach to him the absence of an ego, for the brutes have had more sense than to ever imagine there was one.” (Crowley, 1906, pg. 227) The elephant spent his days seated in meditation and took no notice at all when Ganesha manifested His divine form before him. When the elephant was only seventeen he was killed by some bacteria.

Next Ganesha reincarnated Abu as a parrot that is supposed to live for five hundred years. The parrot lived merrily in the forest and engaged in the ordinary passions. One day a Tibetan monk entered the forest and chanted, “Aum Mani Padme Hum.” The parrot mimicked the Lama, practiced the mantra every day, and realized the three characteristics. Eventually the parrot became the pet of an elderly lady who soon tired of its continuous chanting and had its neck wrung. The poor parrot was only eight years old.

Ganesha was infuriated at being foiled again and this time made Abu be reborn as a Nat (an elemental spirit) that would live ten thousand years. The family of Nats lived in the hollow of a tree, and one day a bhikkhu came and made his home in the same tree. The British Government learned of the Bhikkhu living in the tree and that he received offerings from the villagers every day. The young Nat overheard the government’s plans of evicting the monk, and cutting down the tree. From the government’s plans the Nat learned of sorrow, impermanence, and insubstantiality. The Bhikkhu was evicted, the tree chopped down, and the family of Nats perished (these events are very similar to Genesis 3). Abu the Nat had only reached the age of three.

Ganesha made the next incarnation of Abu be a flute-girl before Indra’s throne, thus dooming Abu to live for one hundred thousand years. Abu was the prettiest of Indra’s flute-girls and played the sweetest songs on her flute. One day while she was playing she realized the four Noble Truths. Shortly after a mosquito flew into her flute and all that came out was buzzing. Indra was furious and slew her on the spot. She was only eight months old.

Indra was guillotined for this heinous murder and Ganesha ensured that Perdu’ R Abu received the position. As Indra was entertaining Lady Bhavani one day, His mind wandered and He perceived a bank and saw within it sorrow, impermanence, and of course lack of Ego in the bankers. Lady Bhavani was enraged by Indra not paying attention to her and swallowed him whole. Indra had lived only seven days.

Jehjaour was very worried at this point for Perdu’ R Abu was not far off from arahatship. Ganesha set Jehjaour’s mind at ease by having Abu reincarnated as Maha Brahma. Abu’s only job as Brahma was to sustain the universe through meditation. He had read the Bible and understood the horrible results that would happen to humankind if a Deity decides to interfere. Brahma was confused, though, since he was supposed to be above all change, yet only an hour ago he was Indra. As he was pondering this, he saw a holy man meditating under a Bo-tree. Brahma went before Sakyamuni and asked to be enlightened. He wanted to know how he had risen from change and death to the state of being unchangeable. Gautama explained to Brahma that everything - including Brahma - has the three characteristics of suffering, change, and insubstantiality. Someone can “define a quirk as a two-sided triangle ... but that does not prove the actual existence of any such oxymoron.” (Crowley, 1906, pg. 230) Likewise, defining Brahma as eternal and unchangeable does not mean that He really is so. Shortly after, Huxlananda Swami (Thomas Henry Huxley) published a paper that shocked Brahma and caused his death at only six days old.

The death of Brahma enraged Jehjaour so much that his hate engulfed him and caused both himself and Mara to die and be reborn in Avici Hell to suffer the worst fate possible - being reborn as a clergyman of the Church of England. Perdu’ R Abu on the other hand was reborn to Western parents, and was there listening to the Buddha’s jataka tale. This man was Brother Abhavananda (“Bliss-of-non-existence” one of Crowley’s Eastern names). The Buddha asked him what the predicate of all existing things is and Abhavananda replied with the three characteristics. The Buddha then declared Perdu’ R Abu an Arahat and explained that he was the bacteria, the old lady, the British government, the mosquito, Bhavani, and Huxlananda Swami that caused the death of Abu in each life.

This tale is interesting since it shows Perdu’ R Abu actually working against the normal system of things and he obtains greater and greater ability at realizing truth the higher up he goes in the forms of rebirth. Normally a human rebirth is most desirable and someone in the position of Maha Brahma would never have a chance at realizing the three characteristics.

The next work of Aleister Crowley that we shall investigate is his Essay in Ontology in which he attempts to reconcile all the three major religious traditions (Buddhism, Hinduism, and Christianity) using mathematics instead of mysticism. It is interesting to note, however, that in the end of his paper he reverts back to mysticism, and applauds Buddhism as the only spiritual path of any significant importance. He begins his attempt at answering the metaphysical question of creation by examining the problem of the coexistence of infinite and finite beings. He represents this coexistence as a mathematical equation:

x = G + S + M (x - the purpose of the universe, G - God, S - Satan, M - humankind)

Therefore, one could easily express M as the resultant of G, S, and -x. If, however, God is infinite then the other factors cannot possibly affect it and thus Satan, humankind, and the purpose of the universe drop out of the picture. The very definition of God as infinite denies the existence and importance of humankind implicitly. If we instead define God as finite then we have obliterated the usual Christian reasons for worship and there would be no reason for worshipping G over S since either could be considered supreme. As a result of this problem, Crowley decides to define God as a finite being. This, of course, is an idea that is very compatible with Buddhism which does not see the Gods as infinite, or as being the ultimate creators of the universe.

If an infinitely powerful Deity did not create the universe then we are left with the problem of how the universe came into being, and how space and matter came to be. Crowley sums up the Buddhist teaching on this matter as the following:

Whence whither, why, we know not; but we do know that we are here, that we dislike being here, that there is a way out of the whole loathsome affair - let us make haste and take it! (Crowley, 1906, pg. 236)

Crowley considers this response of Buddhism to be inadequate and instead wants to “assert the absoluteness of the Qabalistic zero.” (Crowley, 1906, pg. 236) If we consider space to be infinite, as the physicists do, then we are left with two possibilities as to the nature of matter and the universe. Either matter fills space completely and thus is infinitely great, or if not then we must say that matter is infinitely small. Whether the universe is one billion light years across or is only three meters in diameter is irrelevant since either way it is infinitely small and in effect nothing. If on the other hand matter is infinite then either God is crowded out of the picture or this infinite matter is God Her/Himself. If God is infinite matter itself then we are presented with the problem of “why should an infinite Ego fill a nonexistent body with imaginary food cooked in thought over an illusionary fire by a cook that is not there?”

Thus, Crowley chose to claim that matter is finite, then investigates whether or not we can claim that the universe began with nothing. He defines ‘zero’ as being the absence of extension in any of the categories, and no positive proposition is valid regarding nothingness. If we were to suppose that time, space, being, heaviness, and hunger are the only categories then we could express a man x as x t + s + b + h + h. If this man eats then he is longer extended into the category of hunger. If you isolate this poor man and cut him off from time and gravity then you’d be left with x s + b. Should this man cease to occupy space and to exist then the result would be x0 which equals 1. Thus, whatever x is if it can be raised to the power of zero then the result is unity and the x factor itself is eliminated. If there was a zero before the existence of things then the zero could not have been extended in any of the categories because there would not have existed any categories for it to be extended into. This nothingness extended in no categories can be expressed as 00. Crowley uses the following equation to illustrate the transformation of nothingness into a finite universe:



The multiplication of the infinitely great by the infinitely small results in an unknown finite number extended into an unknown number of categories. Thus, because of mere chance this complicated system of things came out of nothing. We should not misinterpret this as meaning that this nothingness existed for “the idea of existence was just as much unformulated as that of toasted cheese.” (Crowley, 1906, pg. 237) We should also not think of this nothingness as a void occupying infinite space since that would be extending our zero into the category of space.

In The Book of the Law this original nothingness is referred to as Nuit. Nuit is the Egyptian Goddess of the sky, and was the wife of Seb and the mother of Osiris, Isis, Set, and Nephthys. She represented “the feminine principle which was active at the creation of the universe.” (Budge, pg. 120) To Crowley, Nuit was the sum total of all potential outcomes and possibilities out of which any individual substance was created. We find Crowley crying out to Nuit, “O Nuit, continuous one of Heaven, let it be ever thus; that men speak not of Thee as One but as None; and let them speak not of thee at all, since thou art continuous!” (Crowley, 1976, pg. 21) The act of the primordial nothing begetting the universe is described in the Law as “None, breathed the light, faint & faery, of the stars, and two.” (Crowley, 1976, pg. 22) Here the ‘light, faint & faery’ is referring to the One (Hindu Brahman, Gnostic Pleroma, Taoist Chi) and the two refers to the dualities of masculine/feminine, good/evil, God/Demon, Yin and Yang. This account of creation is strikingly similar to the one given in chapter 42 of the Tao-Te Ching:

The Way gave birth to the One;

The One gave birth to the Two. (Henricks, pg. 11)

What is the end result of all this? It is that we are stuck here in a finite universe occupied by a myriad of finite beings all battling against one another and “the war of the contending forces as they grind themselves down to the final resultant must cause endless agony.” Thus, through contemplation of this system of things Aleister Crowley came to realize the first noble truth. Once one has realized the necessity of suffering the next step is to figure out a method for the cessation of suffering. In theory one could wait until the finite universe gets reabsorbed back into the original nothingness out of which the universe was created. Unfortunately the category of causality has been formed and has already accumulated sufficient momentum that the reassimilation of the universe into the original cosmic nothing is nearly impossible.

Crowley believes that the goal of the majority of religions is the annihilation of the self by dissolving one’s self into an infinite deity. Buddhism, however, aims at extinction period. Thus, the Hindu goal of merging into Brahman is illusionary, but the practices to arrive there may be useful at least in the early stages. Crowley summarizes the task of the Buddhist as:

"He must plunge every particle of his being into one idea: right views, aspirations, word, deed, life, willpower, meditation, rapture, such are the stages of his liberation, which resolves itself into a struggle against the laws of causality. He cannot prevent past causes from taking effect, but he can prevent present causes from having any future result." (Crowley, 1906, pg. 240)

To still present causes from having future results Crowley advocates meditation which he defines as the absolute restraint of the mind to the contemplation of a single object. To Crowley mindfulness must be achieved prior to meditation. For a person to become mindful she or he must first have iron willpower. Crowley perceives magical ceremony to have entirely identical ends as meditation, and is a magnificent rocket ship to Nirvana. Through sensation, action, and though the magician indicates the single goal of the ritual.

Although The Book of the Law may talk about ripping the flesh off of the Buddhist, it does contain in it another reference to Buddhism that is not negative at all. In the third chapter of The Book of the Law Crowley says, “Choose ye an island! Fortify it!” (Crowley, 1976, pg. 39) This seems to be a reference to the section of the Dhammapada that Crowley translates as, “Let the wise man an island build against the fatal current strong.” (Crowley, 1976, pg. 46) Juan Mascaro translates the same passage as, “The wise man who by watchfulness conquers thoughtlessness is as one free from sorrows ascends the palace of wisdom and there, from its high terrace, sees those in sorrow below; even as a wise strong man on the holy mountain might behold the many unwise far down below on the plain.” (Mascaro, pgs. 38-39) It is clear that Crowley has departed from regular translations of the Dhammapada with this one particular line, and I believe The Book of the Law is referring to this line of the Dhammapada. Normally this statement is interpreted as one of paranoia and violence which it is commonly interpreted as - especially with the description of Horus as a “god of War and Vengeance.” (Crowley, 1906, pg. 39) just above the line regarding the island. However, if one interprets this ‘island’ as one’s own mind, and protecting it to mean meditating and keeping out false thoughts then this would indeed be a very Buddhist concept. This combined with the prevalent theme of nothingness (as represented by Nuit) makes The Book of the Law a book that is very compatible with Buddhist philosophy. Crowley’s statement of tearing the flesh of the Buddhist is no less anti-Buddhist than the Ch’an monk who claims that the Buddha is a stick of dung.

Bibliography
Budge, E. A. Wallis. Egyptian Religion. New York: Gramercy Books, 1959.
Crowley, Aleister. The Book of the Law. Maine: Samuel Weiser, Inc., 1976
Crowley, Aleister. Collected Works of Aleister Crowley Vol. II. Society for the Propagation of Religious Truth, 1906.
Lao-Tzu. Te-Tao Ching. Translated by Robert G. Henricks. New York: Ballatine Books, 1989.
Sharf, Robert H. “Zen of Japanese Nationalism.” History of Religions, Vol. 33 No. 1