A fan group for Robert Anton Wilson

robert anton wilson, robert anton wilson quotes, robert anton wilson books, robert anton wilson explains everything, robert anton wilson audio, robert anton wilson illuminati, robert anton wilson maybe logic, robert anton wilson prometheus rising

Necronomicon narrative (found in alt.magick)

Dagon Productions wrote:
Seamus wrote:

 > On Jun 28, 7:04 pm, CoreyWhite <CoreyWh…@gmail.com> wrote:
 > <snip>
 >
 > Where do I even begin with this?
 >

There are quite a few jumping off points. There are magicians that
utilize the fictional Cthulhu mythos as a map to practice magick.
I published a book many years ago and New Falcon publications has
published in the recent past, expanded, etc titled "The
Pseudonomicon"
by Phil Hine which outlines utilizing the Lovecraftian/Cthulhu mythos
as a magickal system.

 > The Necronomicon, under that name, is purely fictitious, with the
 > possible exception of Donald Tysons’ rendition, which while being
a
 > wonderful read should not be taken as an actual occult work.
 >

The following cut and paste is the alleged origin of the printed
Necronomicon:

The Doom that Came to Chelsea

My ex-wife died back in March, after a long and heroic bout with
cancer.
She walked out on me in 1997, but we remained on good enough terms
that
I hosted her first and only visit to Vegas in October of 2001. Las
Vegas
was a refuge from the maudlin hysteria of the time. She was dazzled
by
it. I got to spend a week with her last year, just before I drove to
California. I didn’t think I’d be coming back, and we both knew that
this would probably be our last time together.

She had just enough strength to walk down the driveway to the
mailbox,
so we spent the week just hanging out, smoking pot and watching
television, going over old times. The pot counteracted the nausea
from
the chemo and kept her appetite up. I brought her a stuffed toy camel
from the Hard Rock Cafe in Bahrain and a keffiya from Beirut, and
offered pep talks about spontaneous remissions and her old Lotto
habit.

"The odds on Lotto are pretty bad," I said, "but you played it twice
a
week. Your chances of beating this are much better."

I managed to hold back the tears until I got back to my apartment in
Manhattan. I had a tricky moment in the airport bar, but then again,
I
always do in those places.

I first laid eyes on Bonnie at a bar called the Bells of Hell on 13th
St. just west of 6th Ave. where the Cafe Loup now resides. The Bells
of
Hell was a hardcore Irish joint with a bar in the front and a good-
sized
performance space in the back. The location and name made the place a
natural watering hole for the customer base of Herman Slater’s
Magickal
Childe, up in Chelsea at 35 W. 19th St. The Magickal Childe was
ground
zero for the occult explosion in New York City in the 1970s.

Herman Slater and his lover Ed Buczynski had a little occult emporium
on
Henry St. in Brooklyn, just off Atlantic Ave., back in the early
1970s.
They mainly sold herbs, candles and oils, but they also carried a
modest
selection of books. The Warlock Shop was just a hole in the wall, but
despite its humble appearance, it was a true cash cow. In 1976, the
duo
pulled up stakes and moved the operation to Chelsea.

At the Magickal Childe, there was enough space to dramatically
increase
the merchandise offered, and since Herman had the cash and the
connections, the new store became, in effect, the one-stop-shop for
any
and all conjuring needs. In addition to herbs, oils, candles, books,
robes, swords and other accoutrements of the Art, one could find
human
skulls, dried bats, mummified cat’s paws and a wide variety of
unusual
jewelry, a large portion of which was created by Bonnie, my
ex-wife-to-be. A room in the back of the store served as a temple and
classroom for the various strains of wicca that began to gravitate to
the place.

That temple also served as the launching pad for the explosive growth
of
Aleister Crowley’s Ordo Templi Orientis (OTO) in the city in the late
70s and early 80s.

Herman had vigorously encouraged and supported the creation of the
Schlangekraft Necronomicon, edited by "Simon." No doubt he’d grown
weary
of explaining to customers that H.P. Lovecraft’s fabled forbidden
tome
was a fiction, a plot device for great horror stories and nothing
more.
He was savvy enough to sell leftover chicken bones as human finger
bones
to wannabe necromancers, so he surely knew that the market for a
"genuine" Necronomicon could be huge-with the right packaging. In
1977,
the book made its debut in the window of Herman’s little shop of
horrors
in Chelsea. It generated a scene of its own, a scene bursting with
mad,
unfocused creativity and slapstick mayhem.

Robert Anton Wilson and Robert Shea had just published their
Illuminatus
trilogy, and interest in secret societies and occult lore was
sweeping
through counterculture circuits. Grady McMurtry was attempting to
jumpstart the long-dormant OTO in California and had just succeeded
in
having Aleister Crowley’s Thoth tarot deck published. Punks and
proto-goth/industrial types searched out obscure Satanic treatises
and
rare tracts from the seemingly defunct Process Church of the Final
Judgement. Unrepentant hippies and uber-feminists found common ground
in
the gentle, woodsy eco-cult of the wicca, available in enough variant
"traditions" to suit any palate with an appetite for sweets.

None of the wiccan "traditions" were any older than the electric
light
bulb, and the OTO had its origins in a very dubious Masonic lineage
of
no greater antiquity than aniline dyes, but that didn’t stop any of
us
from having a good time. The Necronomicon was not merely the icing on
the cake: It was the hideous formless mass that squatted gibbering
and
piping where the bride and groom should be.

This was the 1970s, and the whole scene was awash in drugs and crazy
sex. Herman had an appetite for rough trade and kept a steady stream
of
dope-crazed street hustlers flowing down from the Haymarket Saloon up
on
8th Ave. above Port Authority. He’d keep them around until they
ripped
him off, then give them the boot and move on to the next one. He
liked
them big and stupid, a total contrast with Eddie’s graceful and
intelligent demeanor.

The differing wicca groups were squabbling over the supposed validity
of
lineage, and there were no fewer than four established OTO groups
internationally, each claiming exclusive dominion over the brand and
trademarks. As a lifelong student of what Crowley termed
"magick" (the
"k" inserted to distinguish the practice from prestidigitation), I
have
never been a big fan of what I call the "booga-booga" school of
magick.
I tend to see the practice more as a form of radical self-help and
advanced covert sales technique than any kind of actual traffic with
disembodied critters and goblins. That said, between the copious
amounts
of hallucinogens ingested and the spells and counterspells hurled
around, there were times when the vibes around the store congealed
and
quivered like a great Waldorf Salad.

Into this bubbling swamp of spiritual fecundity stepped Peter
Levenda,
aka "Simon." Charming, soft-spoken and aloof, well-versed in all
aspects
of occult theory and practice, he eased his way to the center of the
scene. The Necronomicon was a team effort. Herman provided the
sponsorship, while the design and layout were the work of Jim
Wasserman
of the OTO, a raving cokehead from Jersey named Larry Barnes whose
daddy
had the production facilities and a fellow who called himself Khem
Set
Rising (who also designed the sigils). The text itself was Levenda’s
creation, a synthesis of Sumerian and later Babylonian myths and
texts
peppered with names of entities from H.P. Lovecraft’s notorious and
enormously popular Cthulhu stories. Levenda seems to have drawn
heavily
on the works of Samuel Noah Kramer for the Sumerian, and almost
certainly spent a great deal of time at the University of
Pennsylvania
library researching the thing. Structurally, the text was modeled on
the
wiccan Book of Shadows and the Goetia, a grimoire of doubtful
authenticity itself dating from the late Middle Ages.

"Simon" was also Levenda’s creation. He cultivated an elusive,
secretive
persona, giving him a fantastic and blatantly implausible line of
bullshit to cover the book’s origins. He had no telephone. He always
wore business suits, in stark contrast to the flamboyant Renaissance
fair, proto-goth costuming that dominated the scene. He never got
high
in public.

In short, he knew the signifiers and emblems of authority, and played
them to the hilt. He hinted broadly of dealings with intelligence
agencies and secret societies operating at global levels of social
influence. He began teaching classes in the back room, and showed a
genuine knack for clarifying and elucidating such baroque encrypted
arcana as John Dee’s Enochian magick system in such a way as to make
it
understandable even to a novice. He also lacked the guts to let a
woman
know when he was through with her, or so Bonnie said. She was
positioned
to know at the time, despite her failing marriage to Chris Claremont,
the comic book author who put the X-Men on the map. Chris was her
third
husband. I was her fourth, and last.

As Simon, Levenda threw parties with various forms of live
entertainment
and staged rituals presented by the various groups that swarmed
around
the shop. He had no political enemies on the scene, owing to his
adamantine and resolute refusal to affiliate with any one group.
There
has always been a very heavy crossover factor between the Renaissance
fair/Society for Creative Anachronisms crowd, the science-fiction fan
circuit and the occult/wicca scenes. Simon had friends throughout all
of
these arenas, and they all showed up to support this effort at unity.

The house band for these affairs was Turner and Kirwan of Wexford,
whose
sound was primarily influenced by Irish traditional folk music, Pink
Floyd and the esoteric "Canterbury School" of so-called "progressive"
rock inspired by the band the Soft Machine, which school included
Mike
Oldfield; Hatfield and the North; McDonald; Giles, Giles and Fripp.
Connor Freff Cochran (known then simply as "Freff") was nearly always
in
attendance, juggling and entertaining, ornamental and

.
posted by admin in Uncategorized and have Comments (2)

2 Responses to “Necronomicon narrative (found in alt.magick)”

  1. admin says:

    "RMJon23" <rmjo…@aol.com> wrote in message

    news:1183154298.873044.70150@x35g2000prf.googlegroups.com…
    > Dagon Productions wrote:
    > Seamus wrote:

    > > On Jun 28, 7:04 pm, CoreyWhite <CoreyWh…@gmail.com> wrote:

    Is this similar to the Neoconicon? Both seem to be about death …

  2. admin says:

    On Jun 29, 4:21?pm, "Neil Bates" <neil_del…@caloricmail.com> wrote:

    > "RMJon23" <rmjo…@aol.com> wrote in message

    > news:1183154298.873044.70150@x35g2000prf.googlegroups.com…> Dagon Productions wrote:
    > > Seamus wrote:

    > > > On Jun 28, 7:04 pm, CoreyWhite <CoreyWh…@gmail.com> wrote:

    > …

    > Is this similar to the Neoconicon? Both seem to be about death …

    There seem some isomorphisms, but I (think) I get your drift. The
    NeoCon schema in general turns out – as my sources said it would – to
    be a Death Machine. All the more reason for RAWphiles and others to
    heed Robert Anton Wilson and read a 2-vol work on one of his syllabi,
    _The Open Society and Its Enemies_, by Karl Popper. Any jerkoffs who
    claim to have the "real" "true" inside track on the inner workings of
    how History "really" works should be resisted with all effort.

    Popper knew nada about Leo Straussian politics, but as the NeoCons run
    roughshod over the globe with "capitalism is good for everyone,
    whether they know it or not" evangelistic fervor, I think Popper’s
    work seems particularly prescient for us.