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Lucifer: Princeps is a seminal study on the origins of the Lucifer mythos, the first in a two volume work, the companion volume Praxis being an exposition of ritual actions.
The fall of Lucifer, and that of the rebel angels who descended upon the daughters of men, comprise the foundation myth of the Western occult tradition. Princeps is a study of origins, a portrait of the first ancestor of witchcraft and magic. In tracing the genealogy of our patron and prince, the principles that underlie the ritual forms that have come down to us, through the grimoires and folk practices, are elucidated.
The study draws on the extensive literature of history, religion and archaeology, engaging with the vital discoveries and advances of recent scholarship. A concomitant exegesis of the core texts conjures the terrain and koiné of the Ancient Near East, the cradle cultures and language of his nascence. Of critical importance are the effaced cultures and cults that lie behind the Old Testament polemics, viz. those of Assyria, Ugarit and Canaan, as well as Sumeria, Egypt and Greece; they provide the context that give meaning to what would otherwise be an isolated brooding figure, one who makes no sense without being encountered in the landscape.
Intended to be the definitive text on Lucifer for the witch, magician and student of the grimoires, Princeps spans wingtip to wingtip from the original flood myth and legends of divine teachers to the Church Fathers, notably Augustine, Origen and Tertullian. The tales of the Garden of Eden, the Nephilim, of the fall of Helel ben Sahar and the Prince of Tyre, the nature of Azazel, and the creation of the Satan are drawn beneath the shadow of these wings into a narrative that binds Genesis and Revelation via the Enochian tradition. The story of the Serpent in the Garden and that of Lucifer are revealed to be a singular myth whose true significance had been lost and can now be restored.
The Red Goddess is an ecstatic journey through the history of Babalon, the goddess of Revelation, a provocative vision of a very modern goddess coming into power. From the Revelation of St John the Divine, back through the Ishtar Gate and forward into a living modern magical current. This is more than a history, it is a passionate account of living magic and the transcendent power of Love.
The text takes us from Babylon to Jerusalem to Rome, and onwards to Apocalypse. It confronts us with the language and symbols of our own culture and the denied demonised divine feminine. It looks at the angelic work of John Dee and places it in a European eschatology. It delivers a devastating exegesis on the excesses of Aleister Crowley, and unlocks the secrets of 'Waratah Blossoms.' It explains the immolation of the Californian antichrist-superstar Jack Parsons and his relationship with Scientology founder L. Ron Hubbard. There is also a full supporting cast of Solomon, Simon Magus, St John the Divine, Earl Bothwell, the Templars, Mary, the Magdalene and countless others. This is the missing history of the love goddess in the West.
Thirteen essays conclude the book on subjects including: roses, mirror magick, bdsm, aphrodisiac drugs, the information age, love and lust, and the meaning of apocalypse. The Red Goddess is for anyone with blood in their veins, regardless of tradition, background or experience.
The spectre of witchcraft is haunting the West, the dead giving up their secrets. This is a ritual unveiling of these mysteries. It is a vision and a revelation of the mytho-poetic structure of the Art. Apocalyptic Witchcraft is a bold project which does not seek to impose an orthodoxy on what is the heresy of heresies. Instead, it suggests a way forward. Apocalyptic Witchcraft gives a compelling and profound account of the Sabbat and Wild Hunt as living experiences. These are the core of our ritual practice. Dream, lunar and, critically, menstrual magic are explored as a path to this knowledge. The wolf, the Devil, and the Goddess of witchcraft are then encountered in a landscape that ultimately reveals the witch to her or himself. These are not separate threads, but arise from a deep mythic structure and are woven together into a single unifying vision. Alternating between polemic, poetic and ecstatic prose, an harmonious course is revealed in a sequence of elegant stratagems. The book is threaded together with a cycle of hymns to Inanna, pearls on the tapestry of night. Seemingly disparate aspects are joined into a vision which is neither afraid of blessing nor curse. This is a daring undertaking, born from both urgency and need. It offers a renewed sense of purpose and meaning for a witchcraft that has seen many of its treasured ideas about itself destroyed. An apocalyptic age demands an apocalyptic witchcraft, and this is a book which is offered up to revolutionise the body of the craft, a way out of the dark impasse. Tradition is not static, it flows, and this work pours forth a vision for the future. Founded in pilgrimage and ritual, encountered in dreams and gleaned from the conversations of both doves and crows, a remarkable narrative unfolds. Its wings span from prehistory, through the witch panic and it emerges fully fledged into our present moment of crisis. It offers a witchcraft for our time. Apocalyptic Witchcraft is a controversial, luminous text. A shuddering paroxysm of eternal renewal beneath the serpent moon. It is neither a how-to book, nor a history, rather it is a magical vision of the Art in its entirety.
