Announcing The Book of Onei: An Antinomian Dream Grimoire

Onei Cover

The complete Book of Onei is now available through LuLu in paperback and e-book format – including all the poems, spells, myths, and rituals excerpted here on this blog as well as many others. This book is the most personal work I have ever published and represents more than a decade of composition and revision and nearly two decades of active work in oneiromancy.

It reflects my love of visionary poets like William Blake and Li Ho, the influence of my father’s strange philosophy, and years of patient assistance and counsel from friends old and new. Without the extensive editorial assistance of Bob Giordano this book would not exist in its present form. Zoe Dantzinger also deserves special mention for reading over the final version of the book before its release. Finally, I’d like to thank Lorna Smithers, whose amazing review of The Book of Onei can be found here.

For readers of my Noctiviganti novels, this is a further and deeper exploration of night wandering and dream magic in a context that is not entirely fictional.

For readers familiar with Form is the Illusion: A Magical Philosophy, this is the application of the same concepts in magical practice.

Readers of my Gods and Radicals articles will recognize similar themes and images, as well as a few of the poems. This book, on the surface, is less political than my work for Gods and Radicals – but only on the surface.

More than anything else, this book is a record of my most personal work – the work I’ve been doing for many years now and expect to keep doing for the rest of my life. The poems, stories, and rituals in the Book of Onei are only a glimpse – Onei itself is limitless.

 

Paperback $6.99:

http://www.lulu.com/shop/christopher-scott-thompson/the-book-of-onei/paperback/product-23852094.html

 

PDF $1.99:

http://www.lulu.com/shop/christopher-scott-thompson/the-book-of-onei/ebook/product-23907818.html

Powers Glimpsed in Onei

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

 

The powers of Onei are infinite in number. To receive guidance from one of these powers, visualize the entity every night until you receive an answer – but be careful who you ask.

 

 The Red Boar- a mother boar fiercely defending her baby while a man kneels on the ground nearby and dips her Blood Spear into a well filled with all the blood shed on Earth. Take it directly from the fountain of dreams, and not from the dragon gate inscriptions.

 

The Acolyte- an angel weeping in a crypt, imprisoned for bearing corrupted scriptures or forbidden knowledge to earth. Is this the only reason to fall? Or to slay or be slain? I corrupted my message with lies, causing the sons of mirth to sing false songs to the listening lords.

 

The Bloodstone- a megalithic altar of blood sacrifice beside the ocean. The world was made from the blood of sacrifice.

 

The Exiles- exiled aristocrats begging for food and drink. There was an unpleasant side to the faces of the gods. They melted like butter.

 

The Haunting- an invisible but horrifying presence. The silent emptiness of the lonely places, the awful quietness of a locked room.

 

The Keeper of Dust- an aged librarian whose books are fading and crumbling into dust. All works must fade. Not even in the most subtle sense will they survive.

 

The Leviathan- a great whale with a staring eye. A massive, marked-out whale, a rebel against the Law.

 

The Lion’s Mouth- a fierce king who threatens death and horror unless you do evil on his behalf. To fear the evil and to love the good, and so do evil thereby, or to fear no evil and love no good and so remain unstained.

 

The Livik- an old mystic who found a number code in an old book, the solution of which is a blank page. Do not hold on to that which cannot be used to destroy the world.

 

Lord One-Eye- the ruler of Castle One-Eye and keeper of the Oliac Axis, a key that allows access to any level of Faery. Lord One-Eye is a bedridden but dangerous old vampire. He commands an army of automata. The Dreamer came and took the Oliac Axis from him while looking for the Red Queen. You must learn that you know nothing, to discover some strange, unpleasant thing.

 

The Shy Girl- a small girl who lives in a place haunted by a powerful ghost leader. You need to stop trying to understand. Sometimes a thing has five meanings, but grown-ups always want it to have one.

 

Wine into Water- a teacher who turns dark wine into holy water. Every speck in the city is a universe. There is no salvation, because there is nothing in you to save or be damned. There is only the infinite.

 

The Legion- The Archons who control the world through the control of dreams. The Lords of the Earth are cloaked in power; power keeps them warm.

 

The Beast- a monstrous demonic man, a cannibalistic killer and sorcerer. He serves the Shapeshifter.

 

The Falling Sun- an apocalyptic demonic god, a comet or fireball falling on a city. It seeks entrance to our world. The War of the Book was fought to keep it from gaining the power of the Book.

 

The Fell Sisters- triumphantly evil nuns with white eyes, marbleized faces, and long disheveled black hair. Members of the Legion.

 

The Ghost Leader- a member of the Legion. He haunts the mountains and offers initiation into his corrupt tradition.

 

Mr. Triumph- a seldom-seen but very dangerous sorcerer who lives in a remote house in the country with the evil toys he calls his “worms.” A branch covered with red berries keeps him trapped, because he can’t remove it himself.

 

The Seventh Man- an albino demon in purple robes, a servant of the Shapeshifter. He makes threats and offers bargains.

 

The Shapeshifter- a ferocious child-haunting goddess or queen of demons who can change into many terrifying shapes and forms. She mesmerizes victims with the power of her will, and she is great among the Legion.

 

When you meet a demon, dissolve yourself.

 

– from the Book of Onei, Part III: The Powers of Onei

 

Image by Edouard Cibot

The Caesar Stones

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

 

The eyeless hermit waits in the desert and tends the Caesar Stones. You may appeal to them for guidance.

 

I’ve walked across this desert now for days.

The eyeless hermit waits beside the lake

Without a drop to soothe a pilgrim’s ache.

 

The young girl asks me if I want to speak,

And I approach him, though my tongue feels thick.

He has no words. His teeth just hiss and click.

 

The Caesar Stones reveal themselves. A voice

Calls out across the salt flats: “Find me here.”

The hermit laughs. The maiden starts in fear.

 

– from the Book of Onei, Part III: The Powers of Onei

 

Image by Henry Fuseli

The False Prophet

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Clear water from a sacred stream

Has sanctified your vow,

But you remind me of a dream

That none remembers now.

 

You took a year I’d made of loss

And healed it in a day.

But that, I knew, would bear a cost

I wouldn’t care to pay.

 

Now none remembers what you said,

The grief upon your brow.

You told us all to worship dread-

And who remembers now?

 

– from the Book of Onei, Part III: The Powers of Onei

 

Image by Mihaly Zichy

The Wonder, the Horror, and the Art

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

A trio of goddesses named the Playful One, the Flowing One and Bloody-Face. The Playful One plays a bone harp. The Flowing One sings. Bloody-Face moans eerily in the form of a gray standing stone. The Flowing One once slew a dragon by diving into its mouth and cutting her way back out through its belly with her sword. Bloody-Face sometimes takes the form of a giantess dancing wildly, holding a severed head. The Playful One sometimes manifests as a little girl with curly hair, wearing a red dress. She can destroy worlds with the smallest gesture.

 

The three goddesses, when they were girls,

Were always quarreling. Bloody-Face

Would make a mess when the Flowing One

Sought to impress her friends. She would turn

Into a giantess and dance like

A madwoman with a severed head.

Meanwhile the Playful One, who was dressed

In red, didn’t think it was funny

At all. And with a shake of her curls

She would destroy whole worlds. Now, these girls

Are all grown. Bloody-Face, made of stone,

Moans crazily in the winter wind.

The Playful One plays along on a

White harp made of bone. The Flowing One

Sings a song. They never got along.

And now, by the will of the great gods,

These three goddesses can never part.

The wonder, the horror and the art.

 

– from the Book of Onei, Part III: The Powers of Onei

 

Image by John Bauer

 

The Secret of Solomon

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

A mighty and terrifying dragon or traveler between worlds who can change shape and appear as male or female, dragon or human, or even as a pile of books. A powerful teacher of dream alchemy.

 

She looked at me- I call it she, although

No hint of human life was in its eyes-

And said, “I know you’re scared, but do not rise.

 

“You’ve used the secret fire, but there is more.

We wish you to evolve.” Her watchful face

Was wax-like, alien. I saw the place

 

She’d traveled from, and it was far- so far.

My chest was aching with a fear so cold

My blood felt sluggish. I had walked the old

 

And near-forgotten pathways. I had seen

My glimpse of burning wheels and turning gears,

And yet this creature woke my deepest fears

 

As easily as if she’d read the book

I keep sequestered in my hidden heart.

And yet, if she could teach the ancient art

 

Of changing roses into flying birds

And dreams to facts, and facts to other dreams-

I nodded slowly, and her cold eyes gleamed.

 

– from the Book of Onei, Part III: The Powers of Onei

 

Image by Valere Bernard

The Host

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

 

The dreadful, eerie dead. Those who would not or could not walk down into the Valley of Shadow.

 

Dead children gather at the quarters

And just stare at my house in silence,

As if the violence of their passing

Had wiped out all speech. Each of them has

Already attained the alien

Soulless quality of the angry dead.

I jump out of my bed and drive them

Off of my lawn. But there is no peace.

I didn’t release them from what they

Suffered, and so they cannot move on.

In the quiet hours before dawn

The dead gather again with mindless

Grins. Vampire spirits, sharply-dressed,

Their eyes express a strange weightlessness.

But the pearl of alchemy is in

My hands. And though they perceive my plans,

They don’t attempt to run. I transform

The dead dreams, and all the dead are gone.

 

– from the Book of Onei, Part III: The Powers of Onei

 

Image by Franz Stuck

Under the Bright Dark

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Czech postcard from the 1920's

Do not hold on to that which cannot be used to destroy the world.

-The Livik

 

I was under the dark when the wind came down,

And the stars were drunk, and the ocean cried.

I walked alone. Though I had known

In time, I hadn’t tried.

 

The world, disordered, spun as fast

As if it meant to break.

I liked it there, and didn’t care

To suffer for its sake.

 

I’ve lived for years just mesmerized

By lights, like falling stars.

Out here beyond the world, I’ve watched

The angels and their wars.

 

I said the words that seemed the best

And watched my temples fall.

Those other lives I could have lived

Just don’t exist at all.

 

– from the Book of Onei, Part II: The Lore of Onei

The Country of the King

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Dora Wheeler, Fairy in Irises, 1888

When your faith descends from heaven

When you find you cannot fly

When you lose the strength to bargain

With the powers of the sky,

 

When the things they keep demanding

Seem impossible and grand

You can come into the country

Of the powers of the land.

 

They have drunk from deeper waters

And their holiness is dark.

And to them the light is precious,

So they value every spark.

 

They are not inclined to question

What you’ve done or where you’ve been-

Though you’ve wandered far from wisdom

You can always come again.

 

There is gold beneath the mountain

There is treasure in the sea,

There’s a chalice and a fountain

Granting things that cannot be.

 

There are palaces and temples

In the cities on the plain

Made of bone as smooth as marble

Where the windows run like rain.

 

There’s a grove of golden peaches,

There are apples, green and red,

There’s a hierophant who teaches

From the gospels of the dead.

 

There are kings and queens, created

To be gods before the Fall-

Though you wandered there for ages

You could never see it all.

 

And your anguished hope of heaven,

Once a parched and withered thing,

Will be branches red with berries

In the country of the king.

 

– from the Book of Onei, Part II: The Lore of Onei

 

Image by Dora Wheeler

Darkness and Silence

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

John Bauer (1882–1918)2

If you want knowledge, seek out darkness and silence.

 

I glance behind me, but there’s no way home.

The waves are foaming like a rabid dog,

Like monsters, always watching. On my bones,

On every branch and rock and fallen log,

The ice lies thick. The silent heavens sleep-

Unreadable, malicious. Earth is still.

She won’t disclose the secrets that she keeps.

Night creeps a little closer. From the hill

I hear the howl of wolves. I feel the eyes

Of basilisks upon me. Lions roar.

Don’t question heaven. Do not leave your door.

 

Dream necromancy is dangerous, especially if the spirit discovers your secret name.

 

Animal masking allows you to contact the cthonic powers.

 

To honor the gods, fumigate small images of them by hand in a cloud of incense.

 

The gods crave meat; the meat craves fire.

 

There are two types of death in dream. The dead force is like a black hole – without consciousness, dead and soulless although capable of movement. The live force is the exact opposite.

 

The universe is like the desert: a vast empty space made up of tiny particles lit by a blazing light.

 

There is no final invitation to Onei. You must find your way each time.

 

The pattern will always assert its essential points. Only a certain level of play exists in reality, and that which is destined cannot be prevented.

 

Some genii loci will abandon their home if it is clear-cut or otherwise abused. It becomes a soulless place.

 

There are time travelers who visit different eras by possessing dreamers as they sleep. If they come upon you in a night wandering dream they will try to stop your throat so you cannot get the words out, but if you force the words out you should be able to say your protective charm.

 

The whole world is filled up with gnosis. It is people who must become free in order to fill up gnosis.

 

– from the Book of Onei, Part II: The Lore of Onei

 

Image by John Bauer

Lore of Onei

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Wilfred Gabriel de Glehn (1870-1951) , Night

The door to Sana Delayo is always open.

 

The Blue Pearl- a blue pearl of spiraling energy, capable of dissolving or transmuting any demonic power. Roll it in your hands to dissolve a nightmare.

 

The City- a magical city ruled by the Red Queen. The scene of many otherworld wars.

 

The Compass- an oracle owned by a king of Onei who was an ally of the Red Queen during the War of the Book. It is an old compass on a shipwreck mounted on a magnetic stone. It always predicts evil, and it makes sure that its own prophecies come to pass.

 

The Dark Tower- a gnostic prison where the Red Queen was once held prisoner. If you ever find it, you will discover that you have always been there. The bottom floor of the Dark Tower contains everything in mundane life, but merely spending time there causes you to forget where you really are. To escape the prison, do not run from wind or water. Allow the storm to destroy your dream.

 

Gnosis- true and sacred knowledge acquired from Onei.

 

The House- a vast, rambling house with countless rooms. Often attacked by malevolent forces. The attic is haunted.

 

The Kind- the fairies or elves. The folk of Onei.

 

The Naught- the other side of dream and death, a limitless soaring bliss or light. The Void. The divine darkness.

 

The Mysterium- magical power, a current of electricity or intoxication. It spins or spirals, either clockwise or counterclockwise. It can be dark or light. It can dissolve loops and knots and destroy nightmares. It can possess you, either in Onei or the waking world. It can destroy the world and break through to the other side. It can appear as rising floodwaters, tsunamis, tornadoes, waterspouts or in other symbolic and terrifying forms. The mysterium can destroy all structure, all order. When the true power of the mysterium is unleashed, it can annihilate anything and everything, revealing the Naught.

 

Night Wandering- oneiromancy, the art of mythic dreaming.

 

Onei- the dream realm. It sends its messages by chance, yet it can be courted in trance. If you want knowledge, seek out darkness and silence.

 

A Power- a significant entity in Onei, such as a god, saint, angel or demon.

 

The Prime- warriors of the Kind. A regiment in the Red Queen’s armies. The Prime has an initiation test consisting of strange riddles. If you answer perfectly, you pass. If your answers are almost correct, you fail. If your answers are completely incorrect, you have a second chance to pass by going on a quest.

 

Sana Delayo- another word for Onei.

 

The Secret Library- a library on the rim of the Valley of Shadow, containing books on any and every topic from multiple different realities. The keepers of the library were cruel men, torturers and slavers, but the slaves rebelled and killed them, then disposed of their bodies in a lake. Not all of the masters were killed in the battle, and the survivors later counterattacked. The fate of the Secret Library remains uncertain. Later glimpses suggest that at least some grim powers may still be present there.

 

The Valley of Shadow- an infinitely deep valley of total darkness into which the dead must walk, led by a faceless guide with the mannerisms of a carnival barker. Many are too terrified to step down into the darkness, so they wander along the rim of the valley, angry and confused. If you go down into the darkness you can break through to the other side. The Valley of Shadow is the womb of the Naught.

 

Dream Quest– A journey or quest that occurs within a dream or series of dreams, for the purpose of achieving some mythic task or acquiring gnosis.

 

Answer all riddles; complete all quests.

 

– from the Book of Onei, Part II: The Lore of Onei

 

Image by Wilfred Gabriel de Glehn

How Doubt Left the Empire

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Frederick Sandys (1829-1904), Harald Harfagr ~ Originally published in Once a Week, 1862

The Empire of the Adoration, also known as the Qalina, grew up out of the chaos left behind them by the Sons of the Crow. The Sons of the Crow destroyed the City of Wisdom and the City of the Gods, then disappeared into the Blue Desert for several years. They came out of the Blue Desert to destroy the City of the Sublime, where the worshipers of the Sublime had rebuilt their temples. They retreated for seven years into the Brokentooth Mountains, then came down again to burn several more cities.

 

The Flagbearer and his followers had stopped them, but the Flagbearer had been burned alive, because the priests of the Adoration did not trust his purity. Then the Temple of the Adoration became the ruler of the ruined lands, and imposed its teaching on every community. The Qalina was its High Priestess and its absolute ruler, and her followers believed in the legend of the Adoration: how it was he who brought the sun from the depths of outer space and installed it above the primal waters, how he pulled the ghosts of which people were made from out of the heart of a dying star in order to populate his new-made world, how he imprisoned the Chaos Worm beneath the same primeval ocean before calling up the islands and continents from beneath the waves, and how he saved his beloved people from being murdered by the vengeful stars, before imprisoning the stars in their cells in the firmament.

 

All believed, and no one questioned. But there was one who doubted, not the faith itself, but his own ability to live up to it. People called him the Doubtful, and they used to chase him through the streets and throw things at him. The priests would question him when he came to the temple, asking him why he doubted the faith. But he would deny that he doubted, saying only this:

 

Though he split the land from the water,

Though he put each star in its own true place

Though he spared us all from the slaughter

I fear his face.

 

“Fear and wisdom are closely connected,” said a kindly priestess, washing the offal from off of his face. “You have the makings of a priest.” But he shook his head, and the expression of fear on his face contained a tincture of a doubt, and so the priestess drove him out.

 

From the depths of his terrified heart, the Doubter bargained, holding his hands up to heaven in a pouring rain. He wanted to serve the Adoration, and he wanted to love him, but the possibility of the one seemed to render the other meaningless. No man can bargain with heaven, so his prayers were not answered. The priests of the Adoration demanded a goodness of which he knew he was not capable. This would not have hurt him, except that he knew his neighbors, and though all of them were pious, none of them were capable of true goodness either. This one was an adulterer and this other one a gossip, this one cheated at card games and still another was a drunk. And as for the Doubtful, he had killed a man, though it was a long time ago and in another city far away.

 

He knew his own crime was a heavy one, but the church demanded a facade of piety, and this was something of which he did not feel capable. And so he sank deeper into doubt and despair, wandering along the roads of the Qalina and sleeping wherever the night surprised him.

 

He awoke one morning on the side of the road, as the cold light of a white dawn drained the darkness from the sky. There was a black crow standing on top of him, perhaps considering if he was dead enough to make a meal.

 

“Don’t take my eyes,” he said. “I am not yet ready.”

 

The crow cawed once at him and flew away, but the Doubtful was disturbed by what he had seen in its eyes. For just a few seconds, before the crow flew away, weird images had flickered there like dim reflections: a blind old woman singing in a lifeless desert as vast as the world, a madman tracing the cracks in a human thighbone between the walls of a ruined city.

 

“What did I see?” he asked aloud, and he heard a laugh.

 

“You saw a bird,” said a man, “for there was nothing else to see.”

 

The man was walking along the roadway with a stick in his hand, and his eyes were bitter and mocking. “You are not a believer, I see,” the man said.

 

“I am not. But neither am I an unbeliever.” The Doubtful stood up, brushing the dust of the road off his clothes as well as he could.

 

“Allow me to guess,” said the man. “They cast you out, because you would not worship their ridiculous god.”

 

“I never found their god ridiculous,” said the Doubter. “I found him terrible beyond all hope. What god could be so ruthless as to demand goodness of men?”

 

The passerby laughed. “That is droll, I’ll admit. But this goodness they ask of you is as meaningless as their god. You need not cling to these shadows and dreams. Accept the reality of what is in front of you, and seek no other.”

 

“Yet I doubt that too. You ask me to trust my eyes and not their dreams. I know no cause for trusting either.”

 

“Then you are far more lost than I. One must know where to stop doubting.”

 

“I don’t think I believe that,” said the Doubter, and the other man shook his head and walked away.

 

“The trouble is not that you couldn’t see,” said another voice, “but that you couldn’t play with the things you saw. Don’t you have any dreams of your own?”

 

The Doubter looked in every direction, but all he saw was the crow, perching nearby on the branch of a silver birch tree.

 

“I must have dreams of my own,” he replied at last, “to be hearing you speak.”

 

Then the crow on the branch stepped out of his crow skin, and revealed himself as the magician called the Three Times Exiled. He grinned a grin from the branches of the tree, and the Doubter grinned back although he did not know why.

 

“Where are you from?” he asked. “For you are no mortal man.”

 

The magician bowed, and said these words:

 

I’ve lived here on the borders of the night,

Where dark divides from light.

I’ve walked the marches made of fire and snow.

 

“I am only a visitor from the Country of the King, where no one believes anything but everything is real. You may join me there if you like.” And then he sang this song:

 

There are palaces and temples

In the cities on the plain

Made of bone as smooth as marble

Where the windows run like rain.

 

There’s a grove of golden peaches,

There are apples, green and red,

There’s a hierophant who teaches

From the gospels of the dead.

 

There are kings and queens, created

To be gods before the Fall-

Though you wandered there for ages

You could never see it all.

 

And your anguished hope of heaven,

Once a parched and withered thing,

Will be branches red with berries

In the country of the king.

 

“Why should I believe that?” asked the Doubter.

 

“You should not.”

 

The Three Times Exiled jumped down from the branch, and the ground where he landed sprouted bells on stems, waving like flowers in a summer breeze. The sound of music filled the air

 

“Neither believers nor unbelievers will ever find it. I don’t ask you to trust what others see or claim to have seen. I don’t even ask you to trust what you see yourself. I ask you only to play.”

 

The Three Times Exiled waved his hand, and a light burst forth from the Doubter’s forehead and swept the world like a cloth washing paint away. The landscape around them became a world of wonder. But it was not exactly as the magician had described. Instead of a city made of bone there was a plain of windows, scattered here and there for hundreds of miles. Some of them were set into the ground and some rose up straight out of it; some of them floated in the sky and some moved from place to place. And every window looked out upon a different world, some of them fiery places and some of them snowy, some of them mountains and forests, others temples and palaces. The possibilities were so amazing that the Doubter merely gaped, and did not even notice that the magician had gone.

 

“This is different than what you sang of…” he began, but then he saw he was alone. For only a moment, he stood dismayed. Then he walked off into the World of Windows and was seen no more.

 

Image by Frederick Sandys

The Book

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Sidney Sime ~ It (1911)

When the sun and the moon still gave no warmth, and maneating giants still roamed the earth.

 

There is a book in Onei that contains all knowledge, including the knowledge of first things. If you are given access to the Book it can be a blessing or a curse.

 

I opened up the Book to find the place

That spoke of ancient things. My hands were cold,

My lips were purple. And the lamp was old –

 

It guttered angrily and cast off smoke

That stained my fingers black. I found the page

And what it said was this – “There was an age

 

In which the sun and moon, though dimly white,

Gave off no heat. Like lifeless rocks they hung

Above a world where primal darkness clung

 

And in that darkness, there were moving things

Like giant, hungry shadows. In the deep

That ancient chaos still remains asleep.”

 

– from the Book of Onei, Part II: The Lore of Onei

 

Image by Sidney Sime

 

Information Speed

Form is the Illusion is a book about Relationship Theory, an unusual system of metaphysics developed by the late David Douglas Thompson. Relationship Theory addresses questions of ontology and epistemology in a way that is likely to be of interest to pagans and occultists.

William_Blake_008

Δ Ƶ = Δ X / Δ Y

 

A relationship change equals a change in something per a change in something else, or an acceleration in information speed.

 

Some information sets are too large and complex for quick results. In this situation, success is relative – you aren’t necessarily hoping to transform the entire set instantly, but to introduce enough new information energy to set a process of change in motion.

 

A relationship change is always a change in one zed object per a change in another zed object. If you’re hoping to introduce change energy into a complex system, you need to have a clear understanding of which zed object you hope to change relative to which other zed object.

 

In ancient times, victims of theft would try to avenge themselves on whoever had stolen from them by inscribing a curse on a lead tablet and burying it in such a way as to gain the attention of the chthonic deities. If we describe this working with the formula Δ Ƶ = Δ X / Δ Y, delta zed is “vengeance,” delta X is divine punishment on the thief and delta Y is the anger of the gods. “Vengeance is obtained through divine punishment due to the wrath of the chthonic gods.”

 

The poem “Curse Tablet,” originally published by Gods and Radicals, was not actually inscribed on lead or buried with a dead man, but the poem refers to this symbolism to create connections in information space:

 

I write these words on sheets of lead

And leave them in a dead man’s hands

To bring them to the silent lands

 

Of root and water, and of rot.

I whisper them into the ear

Of one who can no longer hear.

 

I show them to the gaping eyes

Of one who lies beneath the leaves.

Oh gods of dread who punish thieves,

 

Leave off all lesser punishments and hear!

The thieves who rule the world have gorged

On others’ bread and meat. They’ve forged

 

New manacles to bind the wrists

Of any who resist. They kill

Whoever will not do their will.

 

Oh gods who dwell beneath the earth,

Arise tonight and hunt for prey

More worthy of your power. Slay

 

The kings of thieves, the lords of men,

And not the poor who steal their bread.

I write this curse on sheets of lead

 

And leave them in a dead man’s hands.

I whisper them into the ear

Of those who sleep, but always hear.

 

I show them to the empty eyes

Of those who lie beneath the leaves,

Oh gods of dread who punish thieves!

 

The poem aims to create two different types of change simultaneously, both of which can be described using the formula Δ Ƶ = Δ X / Δ Y:

 

1- Justice is obtained by drawing the attention of the gods who punish thieves away from the powerless and toward the powerful.

 

2- The capitalist system is weakened by strengthening the resolve of those who oppose it and perhaps raising questions in the minds of other readers as well.

 

The poem calls on the gods using mythopoetic symbolism (the sixth bell). It presents an argument about the relative blameworthiness of different types of theft, an argument intended for the reader as much as the deities (the fifth bell). It uses formal meter and rhyme for aesthetic effect (the fourth bell). It appeals to an explicitly radical and pagan belief system to trigger a response in those of a similar ideological bent (the third bell). As people read the poem and share it, it affects their participation in anti-capitalist politics (the second bell). The physical act of typing the poem up and publishing it makes all this possible (the first bell) – and this, rather than “art for art’s sake,” is why the poem was published in the first place.

 

The more people read the poem and share it, the more information energy it generates. You can expect only so much from a single poem, but what if that poem is only one tiny piece of a much larger cultural and artistic movement? Now we’re talking about metapolitics:

 

“A way of expressing and enacting political goals through cultural, spiritual, and societal change, rather than overt politics… metapolitics is founded upon the idea that political change cannot occur until a culture is first created which lays the groundwork for political power.” (Gods and Radicals)

 

As my father pointed out in “Notes on Relationships,” a “change in something per a change in something else” would be graphed as a slope. A slope describes an acceleration. This type of magic enhances change, by increasing the information speed of certain ideas, making a small but meaningful contribution to a much larger project of transformation.

 

Image by William Blake

Sorrow of the Gorge

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

1280px-Eugen_Bracht_-_Das_Gestade_der_Vergessenheit_(1889)

A shock of light above the gorge,

One moment of the sun.

The cliffs are like a closing mouth

Of frozen rock, and north and south

The frigid waters run.

 

I pause and glance ahead. The path

Is vertical and thin.

An ancient, rusted chain is here,

I wrap it round my hand in fear.

It bites into my skin.

 

The roots and boulders, tangled thick

As fingers intertwined,

Jut out as sharp as broken bones.

I cross a heap of ancient stones

And pour out half my wine.

 

“Come out and taste the wine,” I call,

“Come out and drink your fill.”

The wind comes roaring through the trees

And something in me dimly sees

The spirits of the hill.

 

I light an incense-stick and bow.

“I know it’s cold up here.

The world has changed, and we have come

To hate the things we started from,

The magic and the fear.

 

“The face of death is hid behind

This horror we have made.

But fools prefer what’s clear and bright.

They turn their backs on every sight

Of mingled light and shade.

 

“Still, there are things we owe the ghosts.

And some do not forget.”

A mournful bird came floating by.

The mountain ghosts did not reply.

They haven’t answered yet.

 

– from the Book of Onei, Part II: The Lore of Onei

 

Image by Eugen Bracht

The Three Relationships

Form is the Illusion is a book about Relationship Theory, an unusual system of metaphysics developed by the late David Douglas Thompson. Relationship Theory addresses questions of ontology and epistemology in a way that is likely to be of interest to pagans and occultists.

Evelyn de Morgan (1855-1919), The Kingdom of Heaven Suffereth Violence

Α (Ø, 1,2, …) Ƶ Β (Ø, 1,2, …)

 

Α Ƶ Β (Ø, 1,2, …)

 

A Ƶ Β

 

Any set of objects will have all possible individual relationships with another set of objects as well as set to individual relationships and a hierarchical relationship to relationship set.

 

I was at a New Year’s Eve celebration in 1992, featuring a symbolic battle between two huge dragon puppets on a stage in a public square. One dragon represented the old year and the other dragon the new year. My ears were burning with the cold, but the crowd was big and getting bigger. The air seemed to buzz with a dark energy, as the drummers played an aggressive beat and the dragon puppets danced around each other menacingly.

 

The performers didn’t know it, but some of the people in the crowd belonged to a street gang active in the hardcore punk scene. Not everyone liked them, naturally – and some of the other people in the crowd could be considered their enemies.

 

As the drumbeat continued, an announcer wearing a carnival mask came up front on stilts, and started trying to incite the crowd. “Ladies and gentlemen, who will win the battle? The old year or the new year?”

 

The crowd roared in anticipation, feeding on the energy of the drums and the dancing dragons, the appeal to primal instincts. A ripple of energy seemed to pass through us from the stage, affecting the young men most of all. There was a shove here, a bump there.

 

The dragons fought, a choreographed display of ritual violence between the light and the darkness. The dragon of the new year won the battle and drove the old year from the stage, and the man in the mask called on us to cheer our victorious champion. Hundreds of voices yelled out together, and clusters of young men began to gather and face off with each other along the edges of the square.

 

As the crowd dispersed, fighting between the two groups of young punks and skinheads spread rapidly along a front stretching from the square to a nearby movie theater. A gang fight doesn’t look much like a Hollywood battle. There are no clearly-defined lines of fighters, only a constant turning and wheeling like a flock of birds.

 

Someone I knew got pulled down by several attackers, but he came up roaring and swinging punches from underneath them. Someone else pulled a screwdriver, and stabbed his opponent with it several times. (This was the only part of the whole incident that ever made it into the local newspaper, which presented it as a fight between two people when in reality there were about thirty.)

 

The police arrived from every direction, and most of the fighters scattered immediately. One of them decided to confront the cops instead, and walked toward them rapidly striking his chest and gesticulating. He got pepper-sprayed in the face, and the cops started hitting him as soon as he hit the ground.

 

I went to the same New Year’s Eve ritual for a number of years, and it always featured the same battle between dancing dragons, the same aggressive drumbeat. However, nothing remotely like that ever happened again. So why did it happen that time?

 

The performers had obviously studied the folklore of seasonal festivals, and were trying to create a similar magic. Although officially secular, it was in some sense a pagan event and intentionally so. On this one occasion, the magic created by the performance seems to have triggered an outbreak of violence, but on every other occasion it was just an innocent civic gathering.

 

According to the Three Relationships formula given at the start of this article, “Any set of objects will have all possible individual relationships with another set of objects as well as set to individual relationships and a hierarchical relationship to relationship set.”

 

This formula describes the different ways in which entities and sets of entities can relate to each other in information space. In this situation, there were two sets of people – the dragon dance performers and the crowd attending the event. Every year except one, the crowd consisted of a random mix of people – but this one time it included a number of rival gang members. If we examine what happened using the three relationships and the six bells, what we get is this:

 

1- Α (Ø, 1,2, …) Ƶ Β (Ø, 1,2, …) 

 

All the individual zed objects in set A interact with all the individual zed objects in set B. A performance is intended to affect the audience using a mix of techniques. In this case, the performers were using a physical performance of ritualized combat (the first bell) with carefully designed aesthetic elements (the fourth bell) to convey mythopoetic symbolism (the sixth bell). Every performer in the dragon dance was trying to create a certain atmosphere and emotional experience for every member of the audience.

 

2- Α Ƶ Β (Ø, 1,2, …)

 

Every individual zed object in set A interacts with set B as a whole. As an individual member of the crowd, I was emotionally affected by the ritual. I had a personal and subjective reaction to the ominous yet compelling energy created by the performance.

 

3- A Ƶ Β

 

Set A as a whole interacts with Set B as a whole. The third relationship is “hierarchical” in the sense that one object set gives some form of energy to the other object set. In this case, the performers gave an intentionally dark and aggressive energy to the crowd, without knowing that a number of people in the crowd were rival gang members. Every member of the crowd was affected by this energy, but in the case of the gang members it was like tossing a lit match into kindling soaked with lighter fluid. The result was a small riot.

 

The performers were basically playing with magic, and didn’t mean for things to turn out the way they did. When you’re designing a magic working, you always want to ask yourself what information set your magic will affect, and what type of energy you’re adding to that set.

 

Image by Evelyn de Morgan

A Journey to Onei (3)

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Andreas Achenbach, Norwegian Coast by Moonlight, 1848

“The Book of Onei is not The Book,” my father once said. I remember him still, walking beside me on that sunless beach – but was it before he had died, or after? “The Book of Onei is only a guide, a book of riddles that don’t always lead to any answers, a book of truths within lies. I have been to Onei many times, but I have never been to any of the cities or nations mentioned in the Book of Onei, nor have I seen their ruins, nor met their citizens. As far as I can tell they do not exist, and most likely they never existed – not even in Onei.”

 

“Then what is the Book of Onei?” I asked him. “Is it just a fraud?”
“The Book of Onei is both a key and a lock,” he said. His face was haunted, as if he always listened and always waited – perhaps for a footfall. “Those stories mean something, but I do not know what. The Book of Onei hints at something, but I am afraid to ask.”

 

“Perhaps all this darkness is just a means,” I said, and yet he would not hear me and would not answer.

 

“So what is The Book, then?” I asked him.

 

“It contains all knowledge, all knowledge on any topic. It contains the secrets of the Primal Darkness! It is the gift of the Veiled One, the most ancient of all the Powers in Onei.”

 

“Did she give it to you?”

 

“And why would she have done that? I snuck in to the library, the Great Library of Onei, and I stole what I wanted. I walked out with the Book of Onei in my coat pocket! What power would give me any aid or comfort?”

 

“Maybe that isn’t something she would even care about. We know nothing about her. Perhaps the Book of Onei means nothing to her. Perhaps she wanted you to have it. Perhaps if you had ever made use of it, she would have shown you The Book.”

 

Still he did not answer, would never answer. He only looked at the ocean, at the light that flickered across the dark waters, and recited a poem:

 

“I’m Prometheus,” he told me,

“I’m the traitor and the thief.

But his eyes were still defiant

Through his horror and his grief.

 

Then the eagle stuck its beak in

For the hundred millionth time,

And I watched in guilty wonder.

Was I worthy of his crime?

 

Have I used the gift he gave me?

Have I kept the embers warm?

Have I fed the god inside me

Striving daily to be born?”

 

And now here I stood, deep beyond the Borders of Onei, among the gorges and mountains. How far would I travel, how many mountains would I have to cross, until I discovered the secret? Was there even a secret to be uncovered, or only lies within lies?

 

I dug into my bag and found the Book of Onei, opened it up to a random page and read a poem about these mountains.

– notes found in the handwritten original of the Book of Onei

 

Image by Andreas Achenbach

The Bells of Delta Epsilon

Form is the Illusion is a book about Relationship Theory, an unusual system of metaphysics developed by the late David Douglas Thompson. Relationship Theory addresses questions of ontology and epistemology in a way that is likely to be of interest to pagans and occultists.

Henry Justice Ford

Ƶ + Δ Ɛ = Ƶ¹

 

If there is any change of energy in a system, the relationships will change.

 

Zed Magic is the art of changing relationships between objects in information space. If you want to change the relationship between two billiard balls, you hit one of them with a pool cue. If you want to change any relationship in existence, you must introduce new information energy.

 

Traditional forms of occultism already work with this concept. The idea of information space is built in, a starting assumption that is never fully articulated. Consider this description of sympathy and contagion from Frazer’s Golden Bough:

 

“If we analyze the principles of thought on which magic is based, they will probably be found to resolve themselves into two: first, that like produces like, or that an effect resembles its cause; and, second, that things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed. The former principle may be called the Law of Similarity, the latter the Law of Contact or Contagion. From the first of these principles, namely the Law of Similarity, the magician infers that he can produce any effect he desires merely by imitating it: from the second he infers that whatever he does to a material object will affect equally the person with whom the object was once in contact, whether it formed part of his body or not.”

 

Frazer’s work has a lot of issues, but this account of sympathy and contagion does accurately describe how a lot of magical practices work. Both of them assume the idea of information space. Two objects that are symbolically linked are close to each other in information space. Two objects that have once been in contact remain close in information space.

 

Magical workings are mythopoetic, relying on the occult or unseen power of mythic symbols and correspondences to affect changes in information space.

 

This is the implied logic of using symbolism and ritual in magical workings – for example, when a witch in seventeenth-century Scotland made a “picture” or clay doll of some laird in order to slowly roast it over the fire, she believed it would harm her oppressor because of the symbolic correspondence. Although she would not have used this terminology, the “picture” and the laird were close together in information space.

 

In all likelihood the target shared basically the same worldview as the witch, thus bringing them closer in information space whether he was aware that he was being targeted by witchcraft or not. If the laird held a skeptical materialist worldview, it would have pulled him away from the clay doll in information space. Not many people held a skeptical materialist worldview in seventeenth-century Scotland. Not many people believe whole-heartedly in the power of witchcraft in our society. Thus, any working based exclusively on a single mythopoetic worldview will have less leverage in information space and cannot be expected to work as well as it would in a society with only a single dominant worldview. Magic itself is no less powerful, but we need a different strategy to effectively access it.

 

The average person had access to fewer worldviews in the past, and magic gained power through total commitment to a single worldview – thus the traditional emphasis on unquestioning faith in the power of the charm. Zed Magic assumes the postmodern reality of multiple and often conflicting worldviews, and “rings the changes” on them by never operating through just one of them at a time.

 

If you want to introduce delta epsilon or “change energy” into any zed or relationship, you should ring the changes on the situation by combining as many different worldviews as possible in your approach.   If some forms of delta epsilon are more effective in a given situation than others, does that contradict “interactions are the reality; form is the illusion”? It may seem to be a contradiction, but it’s actually a confirmation of the principle. If I try to lift a heavy object and succeed, that is a successfully completed interaction – a reality. If I try and fail, it is the opposite. In our magical workings, the change we are looking for either happens or fails to happen. If it doesn’t happen, we didn’t succeed in completing the interaction so there is no reality to speak of. If it happens as planned, the specifics of how and why no longer matter. The interaction is the reality and the form is an illusion.

 

So if we need to ring the changes and apply as many different types of change energy as possible, it might be helpful to consider what types or modes of information energy are available to us. I can think of at least six. In reference to the concept of “ringing the changes,” I’m going to refer to them as “bells.” When you construct any magical working according to the principles of Zed Magic, you should try to ring as many of these bells as you can:

 

1- Physical

 

2- Political

 

3- Ideological

 

4- Aesthetic

 

5- Rational

 

6- Mythopoetic

 

Applying the six bells to the use of magic, remember this formula:

 

 

Ƶ + Δ Ɛ = Ƶ¹

 

If there is any change of energy in a system, the relationships will change.

 

The basic idea of any working is to add delta epsilon or “change energy” to an existing relationship, changing it into something new. If the relationship in question is a “zed cycle” or information loop, a repeating pattern incapable of changing on its own, then your working should break the loop and free those trapped by it.

 

Unfortunately, the Archons and ruling powers are already applying Zed Magic to create and maintain the information loops they benefit from. If you consider the current structure of our society, it becomes immediately obvious that mass media and popular culture are constantly and effectively ringing all six bells on behalf of the status quo.

 

The first bell is physical, the use of force. This can mean any sort of force at all – you need the first bell to build a house or a temple, to pick up a child or to push an object out of the way. However, physical forces can also be used to inflict violence – and it is never possible to rule other people without the threat of violence. In a military dictatorship, outright violence would be used to crush dissent. Representative democracies like the United States will try to avoid being seen to do so. However, the system uses military force almost constantly outside its borders, and relies on the violence of law enforcement to control its lower classes and maintain order within its borders.

 

The organs of the state, while theoretically democratic, are actually under the indirect control of corporate interests. This is political power – the second bell. Because this control is indirect and unacknowledged, people are encouraged to believe they can influence the system through constitutional means when in fact their political power is very limited.

 

A system based on nothing but political and physical power would be highly unstable. People must be made to believe in and support the system, even though it does not operate for their benefit but for the benefit of the ruling classes. Vast numbers of people are deeply convinced that “free market” capitalism equals Liberty itself and that even the most compromised forms of socialism are fundamentally immoral. This is the power of ideology, the third bell, constantly sounded by the news media and repeated from mouth to mouth by millions of people.

 

Ideology is very powerful, but it becomes much more powerful when it is attached to emotion. In movies and TV shows, video games and pop songs, the emotions that benefit the system are constantly evoked and encouraged – hedonistic consumption fueled by manufactured self-hatred, fear of the Other in various forms, sentimental idealization of the military. This is the power of aesthetics, the fourth bell.

 

The system is supported by the seemingly rational arguments of mainstream economists, presenting their opinions as neutral and incontrovertible facts and dismissing all opponents of capitalism as people who “don’t understand economics.” This is the power of reason, the fifth bell. (This doesn’t actually mean that the opinions in question are reasonable or even rational – only that they use reason to make their case. One could argue that a “science” based on limitless growth is irrational at its core.)

 

Finally, the system encourages adherence to certain forms of religion and spirituality – forms that encourage people to do whatever would benefit the ruling classes. The Protestant work ethic is an obvious example, but even non-mainstream forms of spirituality often serve the interests of the system. Some teach people the “Secret” of wealth while explaining why the poor are at fault for their own poverty. Others teach people how to reduce stress and be a better employee through “mindfulness.” Others teach people the “witchcraft” of entrepreneurial success. This is the mythopoetic power, the sixth bell.

 

The forces supporting the system are already using Zed Magic, and they are very good at it. In fact, the Left has been somewhat inept at this sort of thing in comparison to our antagonists. The Nazis, for instance, created a total package of social control based on an effective mix of aesthetics and ideology combined with the reckless use of physical force to seize and maintain political power. Everyone knows there was some interest in occultism within Nazi circles, but the formal practice of occultism was only one small part of their use of magic. The Nazi aesthetic captivated and hypnotized far more people than any ritual Himmler and his SS cronies ever performed.

 

Far too often, leftists become infatuated with the power of reason, a power with relatively little leverage in information space in many circumstances. Our antagonists are operating on multiple levels at the same time to make people really love and support a system that literally doesn’t care if they live or die. And what alternative do we offer them? Dense and abstract critical analysis phrased in a language you have to study for years to even understand. Leftist disdain for the irrational cedes power to the opposition.

 

All the more reason for us to get better at our magic, and to do it quickly. Magicians who rely on the mythopoetic alone have little leverage in information space. Activists who rely on the political alone cannot build up enough momentum in information space to overcome the tremendous inertia of the existing system. Intellectuals who rely on logical arguments to sway the masses might as well be trying to hold back the tide with their hands. Musicians who compose protest songs may succeed in creating aesthetic power, but never enough of it to overcome all of the aesthetic forces the other side can muster – a mindlessly patriotic war song has aesthetic power too.

 

If we try to win by ringing just one or two bells, we will never succeed. The enemy is already ringing all six of them, and has been doing so all along. We must become adept at ringing all six bells.

 

Luckily for us, we don’t have to win in one fell swoop. Remember, every change in any zed changes all the zeds:

 

An object, to all our intents and purposes, is totally defined by the “vector” sum of all its relationships. Thus, in any given system if even one Ƶ changes then all the objects are changed, i.e. become new. (Notes on Relationships; David Douglas Thompson)

 

With every small successful change, we create a change effect that ripples through the entire system, mutating every object it comes in contact with. The more effective we become at ringing the six bells of delta epsilon, the more we change the entire structure of our reality.

 

Image by Henry Justice Ford

When the Sons of the Crow Came Down on Onei

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Dark star a postcard by Vasily Alexandrovich Kotarbinski {c.1900}

When the Sons of the Crow came down on Onei, the terror of their first appearance was like the rising of a blood-red star. Their eyes were feral and vengeful and they were clothed in rags, black tatters like the wings of crows. Their fury lit first upon the City of Wisdom, which they destroyed completely in seven days. Men said that the Sons of the Crow were the fools of the wasteland, driven out from the City of Wisdom and returned now to take their vengeance, but none could say for certain. The Sons were like howling furies when they went into battle, and the wise could do nothing but die before them.

 

The Sons of the Crow were led by a prophet, a man who wore a long black crow’s mask to hide his face. The name of the prophet was Eyes Like Flowers, and the heads of huge sunflowers spilled out from the eye-holes in his black mask, so that none could tell how he could see.

 

There was a story about Eyes Like Flowers, but none could say if it was true or not. According to the story, the prophet was originally a common criminal, arrested for inciting a riot in the streets of the city. When the wise men of the city declared his death sentence, he only laughed strangely at them but would say nothing. They tied him to a stake and prepared the bonfire, and the man who would soon lead the Sons of the Crow began to sing. His voice was like the harsh screech of a cawing crow.

 

When my eyeballs bloom like flowers

And my hands go forth to war,

When the bell that tolls the hours

Cracks and falls and rings no more…

 

According to the legend, Eyes like Flowers became a prophet as he sang the song. Gigantic sunflower heads burst out through his eye sockets, and his eyeballs fell out just like little glass marbles. His hands burst into flame even though the city Headsman had not yet lit the match, and the bonds with which they had tied his wrists burned black and snapped off.

 

The clock on the great brass tower in the center of the city, a beautifully complicated mechanism of gears and dials, had just been ringing the hour of noon. As Eyes Like Flowers sang the words of his song, the bell in the clock-tower suddenly cracked, falling to the ground in an explosion of bricks and splintered wood.

 

Across the length of Onei, on the Blue-Green Ocean, a hot wind began to blow. The sun blazed like a malignant eye, and the drought began that destroyed the Pearl States. By the end of that decade, large sections of the Blue Green Ocean had been boiled away to desert, gleaming whitely like a plain of salt.

 

As Eyes Like Flowers sang his song, the Wise – who had been watching his intended execution from a nearby balcony – had their crimes laid bare before the people of Sophia, appearing as flickering images on the passing clouds. Qaran the Luminous, the great philosopher, was exposed as an embezzler of the city funds. Tendress the High Priestess was shown taking bribes from the wealthy to preach whatever they wanted her to preach. Setnel the Astronomer had stolen another man’s greatest discovery, then had his rival denounced as a fool and driven out into the wasteland.

 

It went on and on, and the people of the city were enraged by what they saw. The rioting that followed lasted for three days and four nights. Eyes Like Flowers disappeared, only to return at the head of his black-clad horde some ten years later. But all of this was only a legend, because no one outside the Sons of the Crow could say for certain, and the Sons of the Crow did not answer questions.

 

What is known is this. The prophet who was known as Eyes Like Flowers wore a crow mask with a long black beak, and long tattered robes that looked like crow’s wings. In the eye-openings of his mask, there were giant sunflowers. When the Sons of the Crow came out from the wasteland, he got up in front of them and sang this song:

 

And are we not of the sons of the crow,

Who worship a hidden creed?

Or those who seek but do not know,

And hear, but do not heed?

 

When they heard these words, his followers howled, and the frenzy of their bloodlust blotted out all other sounds. Man and woman, young and old, the Sons of the Crow held their spears on high, while their commanding officers held curved white scimitars. The Wise of Sophia sent out their army, but the army was massacred before the gates of the city. Those gates were barred, but the Sons of the Crow laid siege to the walls. The people of the back streets rose in rebellion, slaughtered the guards that held the gates, and threw them open to the Sons. They say the light from the flames could be seen in Qotar, but Qotar is more than two hundred miles away from what are now the ruins of the City of Wisdom.

 

That too is mere legend, but this is not: when the Sons of the Crow came down on Onei, the terror of their first appearance was like the rising of a blood-red star. From city to city and from land to land, the Sons of the Crow brought blood and fire. No one knew what they wanted and none could say what they believed, for their Prophet spoke only in riddles and poetry. To the High Priest of the Adoration in the Plain of Day, Eyes Like Flowers sang these words:

 

I climbed a staircase to the land of birds

And told them what I’d learned.

They didn’t care.

To birds, the world is made of clouds and air.

 

And then he inexplicably spared the Temple of Adoration from destruction by his horde, though the Temple of Wisdom was torn brick from brick and its priests impaled before the ruined walls.

 

Believing that the worship of Adoration must be favored somehow by the Sons of the Crow, thousands and thousands of people converted to that creed, and the whole land between what was once Sophia and what would someday be the Qalina became a stronghold of that faith. The Sons of the Crow did not always march, but disappeared into the deserts and the mountains for years at a time, reappearing to burn and kill. Yet when they did so, they showed no favor to any, burning the cities of the Adoring just as readily and as ruthlessly as any other.

 

When the fear of the Sons of the Crow had become too great to endure, and the fact that they favored no faith had become too obvious to ignore, a prophet arose from among the ranks of the Adoring. He was known as the Flagbearer, and he carried a flag before him into battle instead of any kind of weapon. All his followers did the same. The followers of the Flagbearer refused to fight, but only carried their flags ahead of them and stood before the Sons of the Crow. They died in their thousands, surrendering their own lives willingly as a shame and a rebuke. When the Flagbearer stood before Eyes Like Flowers, the mad prophet broke down and wept, singing these words as he fell to his knees:

 

We come to you with broken beaks

And wings like crippled birds.

It’s better not to even speak

Than lose the weight of words.

 

Then all of the Sons of the Crow dropped down to their knees, and their spears and their scimitars fell out of their hands. Their eyes were wet with sorrow and remorse, and the terror of their own damnation. But the Flagbearer replied with kindness:

 

On bended knee I sought the source

Of all that moves above,

And only when I knew remorse

Decided it was love.

 

The awful kindness of the Flagbearer shamed the Sons of the Crow so that they took their own lives, unable to live with the horror that they had made. And so the Flagbearer saved the lands that would become the Qalina, the Empire of the Adoration. Yet he was not to be honored, for the priests of the Adoration could never trust him. He had no blood on his hands, but the shame he inspired, the example of a thrilling and terrible love, had destroyed an entire army. And so they had him burned alive, and his followers scattered to the corners of the earth.

 

There were those who disapproved, but one old man who witnessed the execution nodded solemnly as the flames rose high. As he turned away from the pile of ashes, he was heard to say this:

 

He told me he could teach the art

The world was built upon.

And yet, within my secret heart,

I smiled when he was gone.

 

Image by Vasily Alexandrovich Kotarbinski

Ghosts, Gods and Archons

Form is the Illusion is a book about Relationship Theory, an unusual system of metaphysics developed by the late David Douglas Thompson. Relationship Theory addresses questions of ontology and epistemology in a way that is likely to be of interest to pagans and occultists.

412px-Johann_Heinrich_Füssli_063

Ƶ1 Ƶ A

 

If a particular relationship is made up of the relationship between two objects, then it is possible for that relationship to also be in relationship with a third object. (Notes on Relationships; David Douglas Thompson)

 

This formula has some interesting implications for pagan theology. A relationship between two zed objects can also be treated as a zed object. In Romeo and Juliet, the Capulets have a vendetta with the Montagues. A vendetta is a type of relationship, but the existence of the vendetta has a tremendous impact on every member of both families. Romeo is a member of the Capulet family, so whether he likes it or not he has to deal with the vendetta. Therefore, the existence of the vendetta between Capulet and Montague implies that there is also a zed between Romeo and the vendetta.

 

If the vendetta can function as a zed object in its own right, then so can other relationships. The simplest way to think of this is to imagine a ghost. You can think of a ghost as the relationship between a living person and a dead person, between a place and some traumatic event that occurred in that place, or between a person and a place perceived as haunted. In each of these cases, the haunted or numinous relationship is in itself the ghost. A zed can be a zed object, so a relationship can be an entity.

 

Here’s another example. At some unimaginably ancient point in the distant past, a human being first saw a waterfall or stood in a grove of trees or on top of a hill and felt a numinous presence, a “weird awe and shuddering dread before the mysteries of the transcendent” as described by Rudolf Otto.

 

The relationship between this person and that place was numinous, haunted, spiritual – and the numen or spirit was that relationship. Over countless centuries, the behavior of human beings in relationship with the numinous power in the landscape became a body of lore and behavior – in other words, religion.

 

Because “interactions are the reality; form is the illusion,” no distinction is drawn between different types of entity. Information space includes everything, both mind and matter. The relationship between a person and an idea is not fundamentally different than the relationship between two physical objects. Both interactions are simply A Ƶ B, “an interaction between A and B.”

 

Imagine an ancient Gaul by the name of Brennos. Brennos, as an individual human being, is a zed object. Thunder is also a zed object. Brennos hears a crash of thunder nearby and touches his hand to the wagon-wheel amulet he wears around his neck, reciting a prayer to the Gaulish thunder god Taranis.

 

The Gauls (a set of zed objects of which Brennos is a part) have a particular relationship with thunder. In Gaulish mythology, thunder is the sound of Taranis rolling his thunder wheel across the heavens. Thunder is obviously a natural phenomenon, but a Roman would relate to it as a manifestation of Jupiter while a Gaul would relate to it as a manifestation of Taranis. You could say that Taranis is the relationship the Gauls have with thunder.

 

Now, if the Gauls as a whole have a relationship with thunder and that relationship can be spoken of as Taranis, then Taranis can also be in relationship with any specific Gaul. So Brennos, as an individual Gaul, can be in relationship with Taranis.

 

This relationship is not strictly identical to the relationship between Brennos and thunder considered purely as a natural phenomenon. As a natural phenomenon, thunder indicates the presence of lightning and possibly of rain, both of which can have various practical implications for Brennos such as healthy crops, the risk of fire and so on. However, when Brennos touches the wagon-wheel amulet and recites his prayer, he isn’t just thinking about rain and fire. He’s acknowledging the divine presence of the numen and holding it in religious regard. The numen, in other words, is a particular way of relating to the natural phenomenon – yet the numen itself is also a real entity. Why? Because it is something that Brennos interacts with, and “interactions are the reality; form is the illusion.”

 

Now, if the relationship between thunder and the Gauls is itself a zed object, then the relationship between Brennos and that zed object must also be a zed object. Therefore, the relationship between Brennos and Taranis is a zed object in its own right. Therefore, there is a version of Taranis that is unique to Brennos, and it is a really existing entity while also remaining a part of the larger information set that is Taranis as a whole.

 

If Brennos has a dream vision in which Taranis tells him certain things, while his neighbor has a dream vision in which Taranis tells him other things, neither is wrong and both are right. They are each relating to a different entity, yet also to the same entity from another perspective. The Taranis of any one worshiper is more specific and more individual yet very much smaller, less complex and less powerful than the full information set of Taranis. This further implies that Taranis as a whole is part of a larger yet still real zed object – the information set containing all thunder gods, which is less individualized and specific yet larger and more complex than Taranis.

 

Thus, every deity is all of the following things simultaneously:

 

1- a zed (the relationship between a people and some phenomenon or set of phenomena).

 

2- a zed object (that relationship considered as an entity in its own right).

 

3- a member of an information set (a larger and less specific deity).

 

4- an information set containing many zed objects (all of the zeds between the deity and specific individuals, recognized aspects of the deity, specific local manifestations of the deity and so on).

 

It gets still more complicated. The ancient Carthaginians worshiped a goddess known as Tanit, Tanit, like most deities, is not just one specific thing. While the name “Taranis” actually means “Thunder” in the Gaulish language, Tanit seems like a more complex entity and cannot be reduced down to one phenomenon such as the sky – although she was definitely a sky goddess. There is a large and complex information set of associations important to the Carthaginians, of which the sky and celestial objects such as the sun and moon are only a part. Tanit is the relationship between the Carthaginians and this entire set.

 

When the Romans conquered Carthage, they encouraged the people of the area to continue to worship Tanit as the Roman goddess Juno. The synthesis of Juno and Tanit was called Caelestis. Caelestis is the relationship between Juno and Tanit, and like any other relationship Caelestis is also a zed object. Thus, Caelestis is a goddess in her own right – separate from both Juno and Tanit yet not distinct from them.

 

The cult of Caelestis spread to Roman Britain, where it merged with the worship of the local Celtic goddess Brigantia. The goddess Caelestis Brigantia is the relationship between Caelestis and Brigantia, yet is also a unique and really-existing zed object – a separate goddess, simultaneously Celtic, Roman and Carthaginian.

 

Based on this analysis, the hardest of hard polytheisms is accurate from one perspective – and the softest of soft polytheisms from another perspective. This would definitely be an occasion for “ringing the changes.”

 

In polytheist religion, we normally seek to interact with more specific and localized forms of deity. What if we tried to relate to the entire universe as a single information set? Now we’re talking about monotheism, because the religious relationship between a single worshiper and the entire universe is a zed object too, and this zed object could be described as “God.” As a religious category, monotheism is that branch of religion that favors relationship with the whole, and devalues relationships with parts of the whole. Yet there is more than one monotheism, because the relationship between a Christian and the whole is different from the relationship between a Muslim and the whole.

 

What if we do not acknowledge or experience any spiritual relationship with any entity? Now we’re talking about atheism. The relationship between a person and the whole is valid for some people and the relationship between a person and some part of the whole is valid for other people, yet there will always be some people who experience no such relationship. Thus, Relationship Theory is in some sense naturally polytheistic (because it predicts the existence of an infinite number of relationships and treats them all as entities) yet it also accounts for the existence of monotheism (the preference for relating spiritually to all of reality as a single set) and atheism (the experience of reality without numinous relationships).

 

If Relationship Theory treats a spirit as a pattern in information space, does it therefore deny the agency of the gods? No, not at all. In Relationship Theory, the direct perception of any zed object is sufficient proof of its existence, since “interactions are the reality; form is the illusion.” Some patterns in information space display the signs of agency – through mystical visions and natural processes, through the actions of human beings in relationship with them, through our dreams and our deeds. Since they display the signs of agency, they do have agency as far as Relationship Theory is concerned.

 

“Information space” refers to all contexts in which information can operate, and therefore includes everything from the physical universe to the unconscious to subtle levels of reality currently unknown to science (assuming such levels exist). A pattern in information space may play out across any or all of these.

 

Thus, ghosts are patterns in information space initiated by people who were once alive, demons are patterns with malicious intent, gods are especially powerful patterns, and archons are patterns of information that distort our perception of reality and function in such a way as to prevent humanity from fulfilling its potential.

 

A single entity can fall into more than one of these categories at the same time. For instance, the information pattern of a freshwater spring could be a nature spirit, nymph or fairy – but if that pattern began as a person who drowned in that spot, it is also a ghost. A posthumously deified hero is both a ghost and a god. A dead spirit possessing a human being for harmful purposes is both a ghost and a demon. A powerful spirit seeking to manipulate and control humanity could be seen as both a god and an archon at the same time.

 

This brings us back to the strangest passage in Thompson’s notebook:

 

“We are not, as some think, the pawns in some cosmic war but the battleground itself.”

 

Our minds and our bodies are part of information space, and the patterns in information space interact within us. We are their battleground, and the prize in this war is control of reality.

 

My father drew no distinction between the archons and the gods. I don’t agree with this view, because I see no reason to assume that every numinous presence or power would want to control or abuse human beings. Some of them, however, certainly do. By introducing new information energy into looped patterns we can break the cycle, freeing people from possession by the archons – the information patterns that hold us back from our potential as a species.

 

From this perspective, Relationship Theory is a philosophy of revolutionary exorcism.

 

Image by Henry Fuseli

The Powers of the First Darkness

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

Nightmare image Valere Bernard {1680}

Alone at night, I hear the doorknob turn,

The hinges creak- and standing in the light

Are cold and silent men. I stand in fright,

 

And one by one they float in through the door.

Their suits are charcoal gray, their ties are thin.

On every mouth, a Mona Lisa grin.

 

Their eyes could just as well be balls of glass,

Their faces stuffed and mounted. Waves of dread

Pass over me and through me. Like the dead

 

There’s nothing there at all- an absent space

Just papered over by a face as clean

And free of comment as a pure machine.

 

“We’ve found him,” says the first one

And I turn, to try to get away. The power comes

And lifts me off my feet, completely numb

 

From crown to sole. Cold, drunken currents flow

And hold me in a field of fearful awe.

They know the truth. I disobeyed the Law

 

And now the consequence has found me out.

“You should have kept your mouth shut,” says a voice,

“Or joined the Legion while you had the choice,

 

“But chronicling our secrets…” As I scream,

Their faces start to glow. They circle in

Like feeding sharks. But, though I may have sinned

 

I still remain defiant. Down below,

In Death’s primeval waters, there is lore

Of hidden things that none have known before,

 

And I can steal it if I slip the trap.

The horror closes in. My fingers make

A sign of power, and I bolt awake.

 

My wife’s asleep beside me in our bed.

The kitchen light is flickering. Outside,

The city sleeps. And I am still alive.

 

– from The Book of Onei, Part 1: The Art of Night Wandering

Image by Valere Bernard

Zed Cycles

Form is the Illusion is a book about Relationship Theory, an unusual system of metaphysics developed by the late David Douglas Thompson. Relationship Theory addresses questions of ontology and epistemology in a way that is likely to be of interest to pagans and occultists.

Theodoor Rombouts (1597-1637), Prometheus

“All paths are eventually cyclical.” (The Six Axioms; David Douglas Thompson)

 

“Time is a catalogue of cyclical zeds.” (Notes on Relationships; David Douglas Thompson)

 

Some of the most important aspects of Relationship Theory were never fully explained by my father, only hinted at in cryptic notes and conversations. One section near the end of “Notes on Relationships” shows a diagram of a spiral with two dots at the center, and another diagram showing that a quarter of a wave slope could be interpreted as a radius. The two dots at the center of the spiral are linked by a curved line and seem to indicate the same quarter-wave, but the underlying logic is not explained. There is only the statement that “A quarter wave contains all the info of a full wave,” although this statement takes on added interest when paired with another statement in the notes: “Time is a catalogue of cyclical zeds.”

 

This may remind some readers of True Detective’s “time is a flat circle,” and it actually means something very similar. A zed cycle or cyclical zed is a repeating pattern of interactions. This relates to one of the six axiom or corollaries to the Ten Laws: “All paths are eventually cyclical.”

 

The “paths” in question are opposing tendencies in a relationship pattern. As previously discussed, the process of differentiation and opposition is necessary for perception to be possible. When opposites are differentiated, the interaction of those opposing forces will reverse and then repeat itself in an infinite number of iterations. This is essentially the same concept as Yin and Yang in Chinese classical philosophy. When either Yin or Yang becomes too dominant it begins to transform into its own opposite. (This concept was developed at some length by Jason Thompson as the “Zed Tree,” a diagram based on the same idea as the 64 hexagrams of Yin-Yang interactions. The Zed Tree is a very complex topic in its own right but is a separate concept from the original version of Relationship Theory.)

 

The important point for our current discussion is that relationship patterns loop and repeat themselves in an endless cycle, so “time is a catalogue of cyclical zeds.” Nobody trapped in one of these information loops could ever escape it on their own, because a third party would have to intervene to create any change in the system. Of course, this happens all the time – although most likely as part of an even larger repeating cycle.

 

At this point in the discussion, David Thompson’s ideas become much stranger, no longer grounded in the theoretical side of the theory although still connected to it. There is a short passage elsewhere in the notebook, separate from the “Notes on Relationships”:

 

“The way things are is the way they’ve always been. We, the race we call human, are being used, misused, and often abused. By the cold blooded manipulation of our spiritual and emotional lives our 3-D existence is shaped and our minds are programmed toward ends not our own. We are not, as some think, the pawns in some cosmic war but the battleground itself. As battlegrounds are seldom improved by having wars fought on them, it is time to consider whether choosing sides is wise”

 

As bizarre and paranoid as this may seem, what he’s talking about here is a form of Gnosticism. The passage suggests that our reality is controlled by Archons, entities capable of manipulating us into perceiving what they wish – shaping our reality against our will and without our knowledge. These beings don’t come to us from outside but from within, using our minds as battlegrounds in their secret wars.

 

“The way things are is the way they’ve always been,” because “time is a catalogue of cyclical zeds” – relationship cycles that repeat and repeat forever without ever really changing. We are effectively trapped into a particular experience of reality by these repeating loops or cycles. Two objects in a relationship with each other can never change that relationship on their own, because cause and effect requires a third party to introduce new information energy into what would otherwise be a static situation. This implies an infinite regress, but not to the benign First Mover of Thomas Aquinas. Instead the cycle of cause and effect goes back to some undefined yet far from benevolent group of entities manipulating our perception and thus our whole reality.

 

We’re obviously no longer in the realm of rational argumentation here. No arguments are given to support these assertions, only a dark mysticism based on a frightening personal experience.

 

When David Douglas Thompson first came up with Relationship Theory it was in a dream or a visionary experience. In the same experience he perceived the presence of these entities, Archons as the Gnostics would have called them although my father always referred to them as “the gods.” His interpretation of the vision is one particular worldview, and Relationship Theory tells us to ring the changes on different worldviews. There is no reason to adopt his Gnosticism as a dogma or fixed belief-system, although it is necessary to understand it and ring the changes on it.

 

My father was a composer as well as an armchair philosopher. While much of his music was light-hearted or even whimsical, some of his most interesting work was heavy to the point of morbidity, including a classical piece called “Jacob at the Pond.” The piano in “Jacob at the Pond” tells a story of tragedy, of some heartbreaking wrong that will never be made right, and of hopeless anger. When asked, he would invariably claim it was about a cat named Jacob playing at a pond. It was actually inspired by a scene in the BBC documentary series The Ascent of Man where Jacob Bronowski visits the pond at Auschwitz and speaks the following words:

 

“Look for yourself. This is the concentration camp and crematorium at Auschwitz, this is where people were turned into numbers. Into this pond were flushed the ashes of four million people. And that was not done by gas. It was done by arrogance. It was done by dogma. It was done by ignorance. When people believe that they have absolute knowledge, with no test in reality, this is how they behave. This is what men do when they aspire to the knowledge of gods.”

 

Relationship Theory was all about the death of absolute knowledge, the necessity of playing with multiple perspectives at the same time in order to approximate a larger truth. He would always say that mankind must somehow overthrow the gods, achieving a new freedom and an apotheosis.

 

In the final year of his life he composed an album of dark ambient electronic music, Whom the Gods Would Destroy, for which he chose a painting of Prometheus as the intended cover. “Whom the gods would destroy, they first make mad.” The music in Whom the Gods Would Destroy sounds discordant and alien, unsettling and anxious. On October 3, 2006 he passed away while competing in the Sunfish World Championships in Charleston, South Carolina.

 

Although he always referred to the entities he saw in his vision as “the gods” and spoke of overthrowing them, I do not see them as being equivalent to the pagan deities. Pagan deities in general are numinous powers associated with aspects of nature or human culture. They are part of our world, not aliens manipulating it. The entities he was talking about are more like the Gnostic Archons, holding humanity back from its full potential and manipulating the human experience of reality. Thompson seems to have thought of these Archons as supremely powerful (and thus needing to be “overthrown”), but it isn’t necessary to take this position to make use of the concept. The important point here is simply that we can become trapped in repeating patterns and that some entities in information space actively use these patterns to control human consciousness.

 

If these entities are responsible for keeping us trapped in a looping cycle of relationship patterns that can never really change, there is only one way to overthrow them and achieve the apotheosis my father always spoke of. We must learn how to do what they do. We must become magicians.

 

By resisting the Archons, we also resist their servants on Earth – the leaders of men. These people seek to manipulate our consciousness to maintain their own wealth and power, just as the Archons do. To resist one is to resist the other.

 

Image by Theodoor Rombouts

The Three Types of Dreamer

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

the-old-mill-by-moonlight-1885.jpg!PinterestLargealbertpinkhamryder

Lightseers- night wanderers who most easily or frequently contact celestial and benevolent entities.

 

Earthseers- dreamers who dream true things, but of Earth and not of Onei.

 

Darkseers- night wanderers who most easily or frequently contact cthonic and horrifying entities.

 

It’s not that the blue-green mountains don’t appeal.

I can feel their majesty,

Their sense of distance.

It’s just that there’s also something else-

For instance,

The something wicked that this way comes

In the witching hour,

The drunken trembling of branch and stem

And the formless Power.

And if I should sometimes prefer

To attach myself

To some beautiful chaos-

I can pay what it costs.

 

– from The Book of Onei, Part 1: The Art of Night Wandering

Image by Albert Pinkham Ryder

Offering Prayer

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

396px-Johann_Heinrich_Füssli_028

Burn the appropriate candle and recite this prayer when you leave an offering to the powers:

 

This hungry pit shall open wide

And gorge on meat and wine.

These flames will burn as night-clouds turn

To watch this work of mine.

 

This shaft will gape so none escapes

Its toothless maw tonight.

While blue-white stars look down in awe

To see the flames so bright.

 

Oh gods of endless space and sky,

Oh gods of underneath,

Oh gods who live and gods who die

And gods who wait beneath,

 

Accept these morsels from my hand,

Drink deep, and eat your fill.

I seek no benefits tonight

Unless you share my will.

 

– from The Book of Onei, Part 1: The Art of Night Wandering

Image by Henry Fuseli

A Journey to Onei (2)

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

sidneysime10

Crossing over into the borders of Onei, I saw a thick and shadowy forest. It’s always like that, by which I mean there is always a barrier – not that there is always a forest. And this forest was deep, as deep as the waters of a still, black lake without a wind to ruffle its surface. I heard no birds, felt nothing but a malevolent watchfulness. At the edge of the trees there stood a pair of pillars, guarded by two grinning and silent skulls. The dead stared back at me in blind resentment. I was alive and they were not, and that’s more than enough.

 

The guardian sat there dressed in red, its face obscured behind a cloud of smoke. It nodded solemnly as I approached, waiting to see if I knew the invocation. The heads in the pillars had failed to give it, which is ironic of course. You compose it yourself.

 

I opened my copy of the Book of Onei, turned to a blank page, and began to speak. The words of my invocation appeared on the page in red and black. I know I said that I could hear no birds, but as soon as I had finished speaking a great flock arose, flying in rapid and violent circles about the nimbus of the sun.

 

The guardian stood, its robes the color of a thick red wine. It made a gesture with its hands, an ancient symbol I had never seen before but which I recognized immediately. What it meant was “proceed,” and it obliged the heads to stop their silent laughter.

 

It had no such power over the forest, which continued to brood in malicious silence. I knew my own tendency toward a violent melancholy and didn’t take it personally.

 

In a clearing between the trees that night I dug a pit with my hands, a place for offerings to the underworld powers. The pit was like a gaping mouth, a waiting throat, opening wide in eager wetness to devour the world. I lit a fire in front of it, honoring the powers of the empty heavens. The celestial deities, the stars and planets, the vast, blue void with its howling winds – I made my offerings to all that beauty, all that horror and all that wonder.

 

And then I crouched in silence, waiting for the spirits to render their judgement. I remembered a dream. The night when the Host came was a terrible night, perhaps the night that had driven me here. There is no horror like that horror, unthinking and childlike, the knowledge that there is something beyond death – and that it knows who you are. They almost had me that time, but I turned out to not be as powerless as the Host believed me.

 

I had my knowledge, the lore my father had stolen from Onei. He gave that power to me, though he had never dared to use it himself. I made a sign with my fingers, I broke the glamour of the wrathful dead…

 

And that was my answer from the forest spirits:

 

“The darkseer needs no permission to journey on into Onei.”      

 

– notes found in the handwritten original of the Book of Onei

Image by Sidney Sime

A Vade Mecum

Lucien Lévy-Dhurmer, Silence

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

1- Seek out darkness and silence.

2- Drift on the river of sleep and daydream.

3- Hear what the voices tell you; see what you see.

4- Record all glimpses of Onei, in daydream or nightdream.

5- Answer all riddles; complete all quests.

 

As hard at it can be to enter Onei intentionally, it is always possible to walk the Borderlands – the place in your mind between sleep and waking, between Earth and Onei. Spirits, dreams and messages from Onei will find you there.

 

I’ve lived here on the borders of the night,

Where dark divides from light.

I’ve walked the marches made of fire and snow.

 

Each night I lock the doors and close my eyes

To watch the rivers rise.

I’ve tasted all those memories- I know.

 

Though there are things that I can never mend,

If I could choose again

I’d take the path I took so long ago.

 

– from The Book of Onei, Part 1: The Art of Night Wandering

 

Image by Lucien Lévy-Dhurmer

Seven Levels of Dreaming

by Chevigie {ca.1939}

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

 

1- the mundane

2- the curious

3- the mythic

4- the mysterium

5- a vision

6- an epiphany

7- annihilation

 

Mundane dreams are those that come in through the Gates of Ivory; they contain no magic.

 

Curious dreams are intermingled with hints and glimpses of magic.

 

Mythic dreams come in through the Gates of Horn; they are dreams of true and sacred things presented in the form of myth.

 

Dreams of the mysterium involve magic power, a drunken electric ecstatic presence.

 

Visions display the vividness and intensity of the Phantasia Catalyptica.

 

Epiphanies answer great riddles and questions.

 

Annihilation destroys the dream. That which waits here is the same as that which waits beyond death.

 

– from The Book of Onei, Part 1: The Art of Night Wandering

 

Image by Chevigie

An Antinomian Dream Grimoire

Resistance, the Black Idol' by Frantisek Kupka {c.1903}

This book is an antinomian dream grimoire.

 

Oneiromancy, night wandering, mythic dreaming – by any name, dream magic is the art of traveling to the world of myth and wonder in dreams or half-dreams.

 

The things you do there, the quests you experience there, and the riddles you answer there are up to you. Your dreams are your own dreams, although some dreams are shared.

 

Nothing in this book should be taken literally. Nothing should be taken as a metaphor either.

 

Miracles and magic happen every single day, but dream magic offers something much more wonderful than power – a secret that waits beyond dream and death.

 

I step outside. It’s true, perhaps- the years

Have folded me, transmuted me, and made

A different man. The mix of light and shade

 

With which I started is, no doubt, the same

And yet the shape is altered. I have come

So far, this time, from where I started from

 

It feels like transmigration. And my self

Can’t quite recall the self it used to be.

I look up, feeling old and lost, and see

 

A sky of midnight blue. The clouds roll past.

The dead leaves whisper. In the rising wind

Are hints of what I thought I’d left behind.

 

I used to know a way out. That’s a truth,

Though not a fact, exactly. There’s a feat-

You don’t ignore the facts. You merely cheat.

 

And still they call me – shadows from the fire

That burns behind the door. The dark, red wine

Of knowing how to walk the borderline.

 

I turn, and go inside. Tonight I’ll dream

And slip through boundaries, past seas of glass

And mountains hot as blood and dead as ash.

 

Prometheus and I, we share a knack

For abstract theft. And though it’s been too long,

Still, “Whom the gods destroy.” You know the song.

 

– from The Book of Onei, Part 1: The Art of Night Wandering

Image by Frantisek Kupka

The Spider’s Song

oceanide.jpg!PinterestLargeJanToorop

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

In the city of Sophia in the land of Onei, only wisdom was valued and the foolish were outcasts. The wise used them only for pulling carts or breaking stones, but those whose foolishness was too offensive to the wise were driven away, forced out into the rocky wasteland on the borders of the Plains of Day and Night. Sometimes the lights from their campfires could be seen in the distance, but this sight made the wise uneasy and so they often chose to leave their shutters drawn. All over the splendid city made of colored glass and hammered bronze, onion-domed towers and lofty pinnacles, the night was dark, but in the rocky wasteland outside the city there were lights like distant stars. It was almost as if the wise were frightened of those campfires, which grew more numerous every year.

 

Such a fate was Aphron’s, son of the philosopher Qaran the Luminous. He had always been foolish, a drinker of strong wines and a sleeper at noon, but his father’s reputation for wisdom was so pronounced, even in a city as wise as this one, that he had managed to reach his nineteenth year before anyone dared to speak against him. When the outcry to banish Aphron came at last, his father Qaran took him aside and sought to prepare him for what lay ahead.

 

“My son,” he said, “you are not wise, but there is no need for you to become one of those who cluster around the campfires at the edge of the city. For there are two paths to wisdom, and one is close at hand. If you go out past the rocky wasteland and into the Plains of Day and Night, you will come to the Starry River. Cross that river, and seek the priests in the Plain of Day. They will teach you the wisdom of faith and service, and you may return here as a priest.”

 

So Aphron set off, and his path took him out through the rocky wasteland and past the ashes of the discarded cooking fires. None of the foolish were to be seen by day, and rumor had it that they shunned the daylight, seeking to hide their shame by burrowing and digging, living in caves like furtive animals. It took Aphron three days to cross the rocky wasteland, but he never saw any fools there, only their campfires after sunset. When he made an effort to approach a campfire, it would wink out like a closing eye, leaving the night in a more total darkness. So Aphron concluded that the fools had rejected him, knowing him somehow to be a seeker of wisdom. He pressed on into the Plain of Night.

 

The Plain of Night

 

The Plain of Night was a terrible place, where the sun never rose and the moon never shone, like the moonless nights preferred by thieves and reivers. No path showed the way through that dark, flat plain, but for as long as Aphron walked upon it he heard noises in the nearer distance. Stealthy footsteps crept slowly up on him, seeming to be preparing an ambush, but no predator ever struck. Sinister whispers seemed to breathe conspiracies, but he could never make out the words they were speaking. The fear of walking through constant danger was far worse for Aphron than an actual attack, for as a frequenter of taverns and wine houses he was no stranger to sudden violence, and he carried a long, flame-bladed rapier at his side. He clutched the hilt and prepared himself, but no attack ever came.

 

Without any sign of sun or moon, he had no idea how long he walked, but at last he came to a shining river, faintly silver with the light of all the constellations that seemed to glow from beneath the waters. Aphron could not decide if there were stars in the water, the night sky of some other world perhaps, or if it was only a reflection. When he compared the constellations in the Starry River to those in the sky above him, they did not seem quite the same, but he was at a loss to say exactly how. Remembering that he was a fool after all, he gave up wondering, and looked for a place to cross the river.

 

There was a ferry-man on the riverside in the silvery darkness, sitting and playing dice with no one and drinking dust from an old clay cup. When he looked up at Aphron and spread his hand for the fare, his smile looked as evil as a death’s head grinning, and his skin was stretched so tight over his bones he might as well have been a skeleton. But after Aphron had paid the fare, and the two of them had gone halfway across the river, his flesh filled out. His malicious grin became a somber frown, he grew a long white beard, and his eyes became bright and blue, though they stared blindly ahead of him. A moment later, they passed into daylight. Before the ferry-boat had crossed the Starry River, both sides of the bank had been the same black landscape. Now both of them were all but drowned in sunlight, and the Plains were a wonderland of grass and flowers, while the air was so fresh it tasted like honey. The ferry-boat landed on the Plain of Day, and Aphron walked in search of the priests who live there.

 

The City of the Gods

 

The City of the Gods in the Plain of Day was home to many temples, and the creed they taught was one of love and service – love for the gods, and service to humanity. The priests of the Plain of Day were not corrupt, but genuine servants who strove only to stand as interpreters between the earth and heaven, and who trained the priests of the many cities of Onei in the subtle intricacies of the celestial language. Aphron the Fool sought out the temple of Wisdom, for the goddess of Wisdom was the goddess of his city, and no man who had learned her mysteries would ever be accounted a fool.

 

“The highest wisdom,” the priest told him, “Is the wisdom of discernment, which will allow you to serve both god and man. And the key to discernment is to learn the flavor – the taste and the texture of wrong and right. First I will feed you the wrong.”

 

The priest gave him something that looked much like chocolate, the richest and darkest of chocolates, but its taste was sour. It was the taste of his mouth on a long and hateful morning after too much wine the night before, the sweat of an anonymous lover’s unloved flesh, the iron-like stench of blood on his blade after a misspent word.

 

“I know this taste,” he said. “And it is poisonous. Because of these flavors I was sent into exile.”

 

“Then consider that your first taste of wisdom. Now I will feed you the right.”

 

What the priest fed him now was like an amber-colored honey, the taste of goodness and piety, the taste of loving kindness. For many days he feasted upon it, because the taste was new to him, and at first it seemed to Aphron to be the greatest joy he had ever known. For one month and then three months and for one year and then three years, Aphron fed only on the honey of righteousness. But then in time it began to pall. The taste it left in his mouth was so sweet as to be nauseating, and he longed for something more solid to feast upon.

 

“Honey is sweet,” he said. “But it is not satisfying.”

 

The high priest sighed, and opened a door that led out of the temple. “In that direction is the Blue Desert. If you can cross its sand dunes and survive its dangers, you will come in time to the Cliffs of the Sages. They teach the other path to wisdom.”

 

And the high priest would not look at him, but would only point ahead at the Blue Desert with his face averted, as if Aphron had disappointed him or possibly shamed him somehow. So Aphron set out on the road again, two times an exile.

 

The Plain of Day was filled with temples, and Wisdom was only one of them. There were temples to all of the gods on the Plain of Day, from the lordly and wrathful Thunder Wolf to the Huntress with her bow and arrows. He stopped at none of them, though a man could learn wisdom by studying at any of them. The path of the priests was not for him.

 

The Blue Desert

 

On the third day after he left the Temple of Wisdom, Aphron reached the end of the Plain of Day. Blue sands of a darkly luminous color stretched out to the edge of the horizon and beyond, like an ocean without a drop of water in it. Aphron walked on into the Blue Desert without giving the City of the Gods another thought.

 

The Blue Desert was a dangerous place. The sands in the Blue Desert had a mysterious color, that deep yet still luminous color of the last minutes of twilight. This color is usually seen only in the twenty minutes or so before true nightfall, when the sun has gone down completely but the sky has not yet forgotten what the daylight used to be. It is the color of melancholy, the type of melancholy that is aesthetically pleasing, an emotion as hypnotic and fatal as the eyes of a cobra.

 

As he crossed the Blue Desert on foot, Aphron succumbed to that melancholy, suddenly swept by a terrible longing that yet seemed indescribably beautiful to him. He was thinking about a former lover from the City of Wisdom, a great beauty whose eyes had shined with much the same color (or so it seemed to him now). He suddenly decided he must have been in love. He couldn’t know this, of course, but they had already driven his former lover out, to join the other fools whose campfires dotted the rocky wasteland. This twilight-eyed beauty was far from tortured by thoughts of Aphron (being rather more concerned with immediate survival), but Aphron was suddenly tortured by thoughts of them.

 

If torture is really the right word for it, that is – because it had much to savor in it, this emotion of yearning and loss and poignant memory. He thought about their blue eyes, the same blue as the sands, and the soft waves of their long wheat-colored hair. He thought about the way they smiled at him when he came into the tavern, and the way they sang for him when the two of them were alone. These thoughts were painful – among the worst pain he had ever experienced – but he would sooner have given an arm than give them up, and that is never true of anything we do not crave. Aphron craved his own suffering, and for as long as he craved his suffering, he wandered aimlessly through the desert.

 

No one can say how long he wandered there, but Aphron was a fool – and no fool ever kept the face of one lover before his eyes for very long. He savored the beauty of his own suffering for a time that felt terrible, and he could have sworn that it was a hundred years – and then another old infatuation crossed his mind, a red-headed fruit seller he had met for just as long as it took him to buy some peaches. As soon as he thought of this fact, he laughed, and as soon as he laughed at his own foolishness, the blue sands lost their power. The Cliffs of Saint and Sage were right there in front of him, a walk of no more than a few hours.

 

The Cliffs of Saint and Sage

 

When he arrived at the cliffs, their height was terrifying, but he could see that there were people who lived on them in caves like birds. There were piles of bones below the cliffs, as of people who fell, but he couldn’t tell if they were the saints and the sages or merely would-be visitors who had tried to climb up to them. There was no way to reach the caves except to climb the cliffs, so Aphron disregarded the risk and began to climb.

 

Three times he almost fell and joined the bleached bones at the bottom, but each time he caught a hold and continued to climb. He reached a cave before nightfall, and the old hermit who lived in the cave was clearly a sage. He looked on Aphron with eyes that burned, and gestured for him to crawl into the cave.

 

“I have long awaited you,” he said. “Twice-exiled Aphron the Fool. You rejected the path of the priests, because the priests know nothing except right and wrong. Wrong and right are merely opposites, and the path of the sage is to transcend such opposites. By rejecting the path of the priest, you have begun the journey. To complete it, you must wear this hair-shirt, and live in this cage on the side of the cliff. When you no longer know of hot and cold, like or dislike, good or bad, you will have become a sage.”

 

So Aphron lived in the cage on the side of the cliff, praying and meditating and starving and itching. He understood the purpose of it – which made him wonder whether he was really such a fool as he had always been told – but the hair shirt scratched him and burned him, and the cold winds that swept the side of the cliff made him shiver, and the occasional bird’s egg the hermit fed him was less than nourishing. He felt his mind changing as the days wore on, but not in the way the hermit intended. He wasn’t piercing the veil between right and wrong. He wasn’t transcending his preferences. He was only becoming strange, sinking down into a deeper foolishness in which he thought he could begin to understand the language of the spiders, the music that sunlight makes, and the logic of the clouds.

 

The hermit pulled his cage in one day for the purpose of feeding him, saw the crazed look in his eyes, and began to beat him with an old bone. Aphron chose not to resist this violence, but it did make him wonder. How was it that a sage could become so angry?

 

What the Spider Said

 

As he lay in the bottom of the cage on the side of the cliff, a black widow spider crawled up to him. The spider said this: “Soon to be thrice-exiled, you are one of my kind, a follower of the third path. For there are priests and there are sages, but there are also magicians. The priest serves the community through prayer and sacrifice, through articulating its deepest values, and by mediating between god and man. The sage, on the other hand, makes men into gods, by teaching them the wisdom to stand as high as heaven. The magician does neither.”

 

“Then what does the magician do?” asked Aphron. And the spider sang:

 

In the ruined walls of Carthage

There’s a man who sits alone.

He can tell you what your dream is

From the cracks along a bone.

 

In the Empty Quarter, keening,

There’s a woman, old and blind,

And her milky eyes are staring

Through Saharas of the mind.

 

They will show you how to do things-

How to rule the wind and storm.

But you’ll find yourself a stranger

In the place where you were born.

 

As the spider completed this mysterious song, the hermit heard him, and came rushing forward with a little knife. “You’ve been listening to the spiders,” he said, “Just like the others!” And the hermit cut the rope, sending Aphron the Fool to his death far below.

 

Or such was his intention. For while most of those who heard the spider’s song had gained too much wisdom, leading them to contemplate their own deaths with a fatal dispassion, Aphron had only become more strange. He had achieved the foolishness of poetry and of the wandering stranger, and the laws of the world held no weight with him. He changed into a crow with a flick of his thoughts, flew out between the bars of the cage, and disappeared into the open sky.

 

“Where are you going?” yelled the hermit, waving his knife at the departing bird. “Where are you going, you fool?”

 

“I fly for Carthage,” croaked the bird.

 

Image by Jan Toorop

Magic Harp-Strings

680px-Franz_von_Stuck_Tilla_Durieux_als_Circe

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

 

Clouds roll across a purple sky.

The witch pours out a cup.

The orange coals of incense burn.

She knows the goblins, how they yearn

To come and eat us up.

The wind cries out as if it’s drunk.

The gods will soon be here.

The witch prepares a plate of meat.

The spirits come, and as they eat

She turns away in fear.

The Presence takes her, and her eyes

Roll up into her head.

Like passing clouds the spirits trace

Their shapes across her dreaming face,

The scriptures of the dead.

The gods are here, they’re always here,

Although they are not seen.

They walk across the purple skies

Or in a witch’s staring eyes

Or somewhere in between.

 

– From The Book of Onei, Part I: The Art of Night Wandering

Image by Franz Von Stuck

Journey to Onei

cf2cd319e7eded769ab4d7e04728e88d--fairy-queen-art-students

The Book of Onei is an antinomian dream grimoire, providing deceptive yet true information about the art of Oneiromancy or dream magic in the form of poetry, fantasy, and intentionally ambiguous instructions.

 

Notes found in the handwritten original of the Book of Onei

 

I was nearly forty years old when it first came over me, the strange feeling that I no longer knew myself. I was sitting in my own house at three in the morning, thinking back on the life I had lived. You start off with so many choices and then you start to pick between them, and every time you choose one path instead of another all your options start to narrow in. You become who you are, and it’s easy to forget you could have been a lot of other things. You could have been once, but you no longer can. Now you are whatever you decided to be, and there are no more open vistas.

 

The whole house was asleep. You can only have thoughts like that in the first place when everyone else is asleep, because that’s the only time when your mind is free enough. It’s the only time when no one needs you.

 

I looked up at the fan blades as they turned and turned, and their long shadows flew across the ceiling like angelic messengers moving rapidly before the sun. My wife and my little daughter lay asleep in their beds, but I hadn’t slept in at least three days.

 

What I was thinking as I was lying there is that yearning is everything. The whole structure of the universe is based on it. The craving for fulfillment is in every seed, reaching up for the untouchable sun. It’s not an anomaly; it’s right there in the blueprint. So when a little girl yearns for her mother, or a man for his lover, or a mystic for the god she serves, it’s not some pathos to be cured. That suffering and that yearning and that loss is the fire of creation.

 

“Maybe we should take a trip to the mountains,” my wife had said that morning, lying with her head up in the crook of my shoulder. She was trying to comfort me, trying to give me something to look forward to. But I wasn’t sad, exactly.

 

“We are what we are,” I answered her. “And we can’t pretend. The dead come easily to us and the angels don’t. How often do you see the shining ones? How often do you see the dead? You know what we are as well as I do. We are darkseers, not lightseers. I’ve been thinking a lot about the basement lately.”

 

“I don’t like it when you talk about the basement,” she said, and pulled back to look at me. The basement is where the door is.

 

So there I was, sitting up awake and alone at three in the morning, not at all certain how it got this way, how I ended up who I am. I watched the fan blades as they turned and turned, and a strange memory came over me. A strange hunger began to grow inside me, not completely unfamiliar and yet almost forgotten. I stood up silently and slipped my shoes on and went downstairs, moving quietly so as not to wake my wife up. Not only was the door down there (though it had long gone unused) but the book was too – The Book of Onei, my father’s crime.

 

The steps creaked as I walked on them, and the dead things whispered. The basement was where he had kept them bound, and they wouldn’t like my interference. But what else can you do with the dead? After all, you can’t kill them.

 

I took a match out and I lit the lamp, and rummaged around in boxes until I found the book. The door in the corner shuddered angrily, but I took the book out anyway.

 

The ancient chaos, the primal darkness. That was the answer to it all. My father had stolen this book from the Great Library of Onei, and the weight of that shadow had hung over us like an evil cloud. But I wasn’t convinced that what he did was wrong. Who are the Great Ones to withhold this knowledge?

 

The dead responded a few nights later. I had brought The Book of Onei up from the basement where it had slept for years. I had read aloud from its forbidden pages. I had begun to compose a few poems of my own about the dreams and the darkness, loose tributes to demonic geniuses such as Li Ho and Meng Chiao. I had even added a few of them to the Book of Onei.

 

In reading from the book and in composing those poems I had upset a fragile peace. The things in the basement slipped their bonds, which were only ever made of a certain mindset – a mindset I had not maintained. They came floating up after me late one night while I lay there staring at the ceiling in the lonely hours, believing myself to be wide awake.

 

My daughter stirred in her sleep and moaned. My wife opened her eyes. The whole house was permeated with a sickening dread, the presence that makes your skin crawl and the hair on the back of your neck stand up. The light in the kitchen blinked on and off. Deep in my stomach, nausea stirred.

 

“You’re going to do what your father did, aren’t you?” said my wife. “You’re going to go through the door.”

 

I nodded in the darkness of early dawn. “I’ve done it before,” I told her. “Before you and I were together. But I haven’t seen Onei in years.”

 

“You’re going over there to steal something.”

 

“Yes, of course. That’s what my father did, and it’s what I’ll do too. The things in the basement are getting restless, because they can sense the way I’ve been feeling lately. My father always said it was an evil book, that it had cursed him ever since he took it. But that’s not what I believe.”

 

“Why not?” she asked, a little harshly. “You’re endangering us all!”

 

“I think it scared him so much that he misunderstood it. He always told me that the dead things followed him over from Onei when he brought back the book, and that they were always warning him not to read it, not to use it, not to learn from it. But the primal darkness is the source of wisdom. He stole its secrets and then feared to read them, so he bound the dead up with spiderweb thoughts and left them down there to haunt his dreams. They made his last years one endless nightmare. I don’t want that to happen to me. I don’t want it to happen to my daughter either. She’ll inherit the book.”

 

“You could return the book,” she pointed out. “You could bring it back to the Great Library of Onei. Then the dead would leave us alone.”

 

“I’m not even sure that’s true. There is such a thing as retribution. And that would only make what he suffered completely meaningless. Prometheus didn’t give the fire back.”

 

“And look what happened to him! So what exactly are you going to do?”

 

“I’m going to learn how to use it. My father was never able to use the book, because he didn’t understand it, he didn’t know why it was so important to the dead. That is the knowledge I intend to steal.”

 

She was silent for a long time. The sun rose outside, and in the pale light my daughter stirred. She would soon be awake.

 

“How long will you be gone?” my wife asked. Her voice shook a little.

 

“Not long at all. I’ll be back before the sun finishes rising.”

 

“Or else you won’t be back. Not ever again.” I didn’t answer her that time. There’s no answer to the truth.

 

So I went down to the basement again and I heard the voices, whispering the things they always whisper, the threats and the warnings. I walked through the gauntlet of the voices as if they could not daunt me, although I was going into their place of strength. I had the book in my backpack. The door at the end of the basement jumped angrily as I approached it, rattled a few times, then settled in. I put my hand on the doorknob, said a prayer to the protecting powers, and paused for a moment in silent thought. Then I walked through into the land of Onei.

Image by Henry Fuseli