“The so-called 'Left-Hand Path' - that of Kaulas, Siddhas and Viras - combines the... Tantric worldview with a doctrine of the Übermensch which would put Nietzsche to shame... The Vira - which is to say: the 'heroic' man of Tantrism - seeks to sever all bonds, to overcome all duality between good and evil, honor and shame, virtue and guilt. Tantrism is the supreme path of the absolute absence of law - of shvecchacarī, a word meaning 'he whose law is his own will'." ― Julius Evola, The Path of Cinnabar.

“It is necessary to have “watchers” at hand who will bear witness to the values of Tradition in ever more uncompromising and firm ways, as the anti-traditional forces grow in strength. Even though these values cannot be achieved, it does not mean that they amount to mere “ideas.” These are measures…. Let people of our time talk about these things with condescension as if they were anachronistic and anti-historical; we know that this is an alibi for their defeat. Let us leave modern men to their “truths” and let us only be concerned about one thing: to keep standing amid a world of ruins.” ― Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga.

“We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who died at his post during the eruption of Vesuvius because someone forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one that can not be taken from a man.” ― Oswald Spengler, Man and Technics: A Contribution to a Philosophy of Life.

Thursday, June 28, 2012

Monday, June 25, 2012

Asphyxia: Aleister Crowley & Maria de Naglowska

"May Morn" by Aleister Crowley, from The Equinox Vol. 3, No. I.

"The Hanged Man" by Maria de Naglowska (c.1932-34):

Aleister Crowley:

Maria de Naglowska:

Tuesday, June 19, 2012

Madame de Sade (1992)

Ingmar Bergman's 1989 stage adaptation of Mishima Yukio's Madame de Sade (1965) was presented at Tokyo's Globe Theatre in 1990 as part of the events commemorating the 20th-anniversary of Mishima's death. Since it was performed in Swedish, Japanese translation was provided via headphones. In Madame de Sade Bergman detects Mishima's interest in both French Neoclassicism (esp. Racine) and Japanese Noh. Although he sees explicit parallels between 18th-century France with its ritualized relationships, garish costumes, and the language of the fan and the equally rigid conventional behavior in the Japanese court, with its rituals and magnificent attire, Bergman considers Mishima's work a modern Noh play in its own right. He admits in interviews that his translation choices aimed to externalize the "dark night" of Mishima's soul as he saw it reflected in the six women awaiting or dreading the Marquis' release from prison (Bergman worked with a literary translation by Gunilla Lindberg-Wada).

Mme de Sade's ritualized and choreographed relationships with her husband, mother, and sister allow Mishima to employ Noh theatrical conventions which he modernizes, pairing up the themes of profound desire and emotional attachment with a universal guilt of doing nothing to oppose evil in a recognizably post-WWII context.

For Bergman, however, Markisinnan becomes a companion piece to his Kvinnors väntan (1952) and Höstsonaten (1978) privileging painful emotional releases of thwarted longing in women's relationships with their lovers or mothers. He also seeks to represent Mishima's persona on par with both Mishima's self-portrait in Confessions of a Mask (1948) and Paul Schrader's controversial Mishima: A Life in Four Chapters (1985). Such conditions might account for Bergman's interpretative transformations of one of Mishima's dominant symbol, the all-consuming fire, into the destructive light of the A-bomb and a reflection of the "total global cynicism" which he detects in western liberal democracy.

Courtesy of SSoiledSSinema

The Crowley - Jodorowsky Connection

This is purely trivial, but having witnessed several discussions of this topic conducted by clueless blustering occultniks incompetently trying - and failing - to "connect the dots" between Crowley and Jodorowsky, usually via torturous "who's who" type counter-culture name dropping, I'm posting these stills from the documentary The Jodorowsky Constellation (1994) of Jodorowsky in his library with a complete set of Crowley's The Equinox vols. 1-10 and The Blue Equinox pictured clearly on the shelf behind his head. Although I don't recall any mention of Crowley in the two Jodorowsky books I've read (not including his autobiography), it is difficult to watch El Topo or The Holy Mountain without thinking there was some minor influence of Crowley on at least some of the imagery.

A photo of my library circa 1992 w/the same ed. of The Equinox:

Monday, June 4, 2012

My Aleister Crowley Thoth Tarot Deck Revisited

I have a lot of stuff around my house that I’ve been carrying around for many years. A case in point – this morning I came across my old set of Aleister Crowley’s Thoth Tarot cards that I’ve had for nearly 35 years now. I don’t think I’ve opened the box and handled them for about 10 years, but this is a deck that I used the hell out of for many years. I acquired these at a stage magic shop when my family first moved to Florida in 1979. This was not my first Tarot deck. I still have the trumps from a 1JJ “Swiss” 19th Century Marseille style deck that I’ve had since I was around 8 or 9 years old, that was my first deck. My second deck was the University Books printing of the Rider-Waite Tarot that came from an estate liquidation/sale that my mother took me to when I was probably 11 or 12. I still have that deck also. I would have been 14 years old when I acquired this Crowley deck, and it accompanied me throughout my ferociously out-of-control teenage years – into my early 20s – that was a blur of “altered states,” frenetic activity, obsessive study of magic, astrology, the cabala and occultism in general, and intersections with innumerable strange, deranged, and dangerous people. This was my study-deck during my wall-to-wall obsession with Crowleyan material at this time, it was also at hand during many very weird scenes, and served in Tarot readings for a number of people with “bad karma” including one subsequent murder victim.
Although I don’t believe the Golden Dawn or Crowley systems are the “end all be all” of Tarot interpretation, or that they are the “definitive” Tarots by any stretch of the imagination (The Tarot of Marseilles is far more deserving of serious study), they still have their place. In any event, I was surprised how battered this deck actually is, and am glad that I excavated it, I have a fetish for wear and age that cannot be simulated, so I’ll probably start playing with this deck again and maybe post some material regarding Crowley’s interpretation of the Tarot and his special use of the symbolism. I’m not entirely dismissive of Crowley – there is much of interest there (in spite of the retarded and contaminated post-Crowley backwash of the American hippy/occult scene, Robert Anton Wilson and ilk that deserves to be flushed into oblivion).

Here is my old battered Thoth Deck:

Albrecht Dürer - Death on Horseback

Satan, Sin and Death - William Hogarth, 1740

Franz Stuck - Inferno (1908)

Franz Stuck - The Sin

Gerard David - The Flaying of the Corrupt Judge Sisamnes, 1498

Hell - Dirk Bouts - 1450