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

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 Majesty

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.

 

When the Majesty asked why the stars were put out, the Son of the First Man replied: “How could I know, with their begging and their radiance?”

 

Though he brought to the sun to the heavens,

Though he fished us out of a cold, cold star

Though he bound the worm to the waters

In a secret war.

 

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.

 

He is a fiery dark god bursting free in destruction, a demiurge, a hunter of those who steal the fire of heaven. The least of his descendants are among the highest of the high.

 

I bent my knee once

And came down out of the majesty of death

Because I needed to learn to love the animal.

I desired to know myself in the anguish of multiplicity.

 

In my breathing out and my breathing in

In the birth and death of suns and planets

In my incarnation and my crucifixion.

 

In the city of ghosts where God walks, wreathed in fire.

 

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

 

Image by William Blake

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 Red Queen

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 pale, dark-haired fairy queen dressed in red, presiding over the wild celebrations of the Kind.

 

The elven queen’s in red tonight,

The night is hard and wild.

Her eyes reflect a distant light,

It makes him glad to see the sight.

He giggles like a child.

 

“I warned you once, each seven years…”

She says. Her face is grim.

The kiss she gave him long ago

Means little now, but even so,

It matters most to him.

 

“I kissed you once. It seemed that we…

But then, you had such words.”

She cannot shake his foolish grin

Despite her people, closing in,

As close as hungry birds.

 

“I’m sorry that we ever met.”

She says it soft and low.

They say the Lady has no heart.

That’s true enough, but it was art

That snared her, even so.

 

“I always try to stop myself.

It always ends the same.

And you, so fair and full of flesh-

But it was I who wove the mesh.”

She looks away in shame.

 

“Enough of this. The land of dreams

Demands your mortal life.”

She lifts her hand and lets it fall-

And with a sudden, hungry call

She turns and draws the knife.

 

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

 

Image by Giovanni Segantini

The Blood Wisdom

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 queen hanging from an apple tree on a plain of ice.

 

An apple tree upon a plain of ice,

Stands out against the sky. There hangs a queen,

Unclothed, but armed, among the leaves. Unseen,

 

The wheels of heaven turn. I feel their weight,

And in the cold I cannot catch my breath.

She grins at me. “It smells of sweat and death.

 

Blood wisdom’s always like that. If you took

A cup of it you’d see it’s dark as wine

And never sweet, but oh so strong. You’d find

 

Yourself upon an apple tree…” She laughs

And thunder rolls as if a mighty door

Had turned upon its hinge. “We’ve met before,”

 

That’s all that I can say. She starts to keen,

A supersonic whine, as sharp and clear

As broken church bells. “Come and find me here.”

 

This is the blood wisdom, and it smells of sweat and death.

 

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

 

Image by Giovanni Segantini

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

Boneyard Goddess

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.

Burn a black candle and visualize the long-haired goddess of the graveyard, she who crouches on a tomb with her face in shadow. Recite this charm to dream of the dead.

 

Goddess of the boneyard, hear me

Through these ghosts that hover near me.

Clear the way through clay and water,

Death’s companion, wisdom’s daughter,

Clear the way that I may travel

Through this sand and rock and gravel,

Through this soil as black as midnight

To the place that knows no sunlight,

Only starshine always gleaming,

To the dead where they lie dreaming,

Bound by death’s white silken tether.

They and I have work together.

 

Thou and I have work together!

 

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

 

Image by Carlos Schwabe

The Man Who Learned to Love the Law

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.

 

I closed my eyes on all I saw.

And when I opened them, I’d learned to love the Law.

I found the garden where the shadows grew,

And look, I brought some home for you.

 

I closed my mouth on all I’d said.

I traveled west and south, and glorified the dead,

To taste their waters and to know if they were mine,

Or something else I’d lose in time.

 

I took my hand from all I’d held,

And offered recompense to dreams that I had felled.

They said I bore no guilt at all,

But still they’ll watch me when I fall.

 

I closed my ears on all I’d heard.

The things I’d loved the most all died with just a word.

I kept them close to me for years,

Till they could be reborn as fears.

 

I took my mind from every scent

And none could ever find the places that I went.

The place in Avalon where Mordred grew.

And there was something there for you.

 

I’ve brought a chalice made of things I’d set aside.

I’ll share this cup with you, and you can be my bride.

We’ll drink the thunder and we’ll ride the rising night,

And you can help me learn to love the light.

 

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

 

Image by Konstantin Makovsky

The Ship of Stars

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 flying ship gliding over an icy landscape.

You can use it to travel through Onei.

 

I walked across a plain of arctic ice

Beneath a sky of sharp and broken stars.

The world was flat and white, but shadowed scars

 

Lurked here and there across the frozen sea.

My heart was quiet, though the rising wind

Was howling like the devil’s pipes. My skin

 

Was burning, faintly. Out there, in the night,

I saw the Ship of Stars against the snow.

Her boards were creaking, and an eerie glow

 

Clung, soft as mist, to ropes and flapping sails.

I climbed aboard and stood before the wheel

And with a sound of steel on sharpened steel

 

Her prow jumped out across the plain of ice.

The fog came in, and with it came a thought-

“Tonight’s a night for flying.” What I sought

 

Could lie in wait across this winter waste.

The Ship of Stars rose up into the night

And floated through the fog. Our only light

 

Came dimly through the wall of mist- a glow

From somewhere far away. My restless will

Grew vast, expansive, but as calm and still

 

As all the leagues of sky through which we flew.

I felt as insubstantial as a ghost.

“It won’t be long,” I thought. “I’m getting close.”

 

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

 

Image by Sidney Sime

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

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

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

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

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

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

To the Keeper of the Gate

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.

unicorn-1885.jpg!PinterestLargeBocklin

A prayer with offerings to gain entrance to the Borderlands:

 

Phantoms of the forest gather

In the shadows of the trees.

Hidden voices whisper, whisper.

I have come for all of these.

 

Praises to the guardian spirit,

Keeper of the in-between.

There are ways that I must wander,

And you know what ways I mean.

 

Here beneath the bone-white birches

And the blue-green spruce and pine

I have brought you bowls of chicken,

Goblets filled with rich red wine.

 

Spirit of the borders, hear me.

Throw the doors of twilight wide.

Tell the skulls that guard the pillars,

Grant me leave to pass inside.

 

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

Image by Arnold Böcklin

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

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

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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