The Dark Lord: H.P. Lovecraft, Kenneth Grant, and the Typhonian Tradition in Magic
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One of the most famous - yet least understood - manifestations of Thelemic thought has been the works of Kenneth Grant, the British occultist and one-time intimate of Aleister Crowley, who discovered a hidden world within the primary source materials of Crowley's Aeon of Horus. Using complementary texts from such disparate authors as H.P. Lovecraft, Jack Parsons, Austin Osman Spare, and Charles Stansfeld Jones ("Frater Achad"), Grant formulated a system of magic that expanded upon that delineated in the rituals of the OTO: a system that included elements of Tantra, of Voudon, and in particular that of the Schlangekraft recension of the Necronomicon, all woven together in a dark tapestry of power and illumination.
The Dark Lord follows the themes in the writings of Kenneth Grant, H.P. Lovecraft, and the Necronomicon, uncovering further meanings of the concepts of the famous writers of the Left Hand Path. It is for Thelemites, as well as lovers of the Lovecraft Mythos in all its forms, and for those who find the rituals of classical ceremonial magic inadequate for the New Aeon.
Traveling through the worlds of religion, literature, and the occult, Peter Levenda takes his readers on a deeply fascinating exploration on magic, evil, and The Dark Lord as he investigates of one of the most neglected theses in the history of modern occultism: the nature of the Typhonian Current and its relationship to Aleister Crowley's Thelema and H.P. Lovecraft's Necronomicon.
necessarily represent death and resurrection in the way we have all come to understand that concept but is another take on the human condition entirely. It is a credit to the Egyptians that they were able to provide enough raw material—real, imagined, or purely speculative based on bits and pieces of monuments, statues, and stelae—to fuel any dozen new religions, new approaches to spirituality, new techniques for becoming ... perfect. For comparison, we may reference the revelation received by
Michael Bertiaux. While it does treat of the many varieties of Haitian lwa it does not focus on the rites most commonly associated with Haitian Vodun, such as the rituals that take place in the peristyle and hounfort. Instead, Bertiaux treats the Haitian material the way that Crowley treats the Egyptian: as data to be incorporated into rituals and spiritual methodologies more familiar to Western European occult practice. In the case of Bertiaux and his Gnostic Vodun, it is a syncretism of a
satanic cults of the world—the devil-worshipping, secretive, murderous, or otherwise unorthodox and antinomian—were survivals of this original cult and were keeping its blasphemous memory alive. Lovecraft's theme is not as internally consistent as the above paragraph would suggest. Lovecraft himself tinkered with it in his stories, and other contributors added to the legends in their own tales, creating what has been called the Cthulhu Mythos. We will not attempt to delineate all the moving
reason have no place in the “serpent brain,” until the advent of depth psychology the only means available for controlling its desires and managing its appetites (other than prison or drugs) were in the realm of ritual in which these unholy or unlawful needs found a safe and manageable channel for expression. Otherwise the world would have long since been filled with Typhonian Teratomas as inbreeding and incest would have degenerated the gene pool and resulted in widespread physical and mental
T. Joshi. In this story we have references to “ingots of magnetic Tulu-metal”151 and the “sacred and magnetic Tulu-metal.”152 This story also has a reference to a sunken city, referred to in a Mexican dialect as Relex. Anyone familiar with how the Spanish “x” is pronounced will immediately realize that this word is pronounced “Rel-eh” with a hard “h,” thus giving us a form of R'lyeh. In this story we have again the theme of mining specific metals, in this case Tulu metal, which is magnetic and