A Subtler Magick

He was the premier writer of horror fiction in the first half of the 20th Century, perhaps the major American practitioner of the art between the time of Edgar Allan Poe and Stephen King. Born into an upper middle class family in Providence, Rhode Island, Howard Phillips Lovecraft (1890-1937) had a lonely childhood, but read voraciously from his earliest years. He soon became interested in science and astronomy and began penning stories, poetry, and essays in great profusion, publishing them himself when no other market was available. The advent of Weird Tales in 1923 gave him a small outlet for his work, and he attracted a large number of followers, with whom he exchanged literally tens of thousands of letters, many of them quite lengthy. A number of these young correspondents eventually became professional writers and editors themselves. Lovecraft's fame began spreading beyond fandom with the publication of his first significant collection, The Outsider and Others, in 1939, two years after his untimely death. Book jacket.

This book pays overdue attention to the British writer Ramsey Campbell, a key figure in the post-1970s boom in Anglo-American horror fiction. Despite a huge output and receiving every accolade within his field over a long career, Campbell has not yet been accorded anything like the wider critical recognition given to his contemporary Stephen King. This study concentrates also on Campbell’s neglected novels and novellas, rather than the short stories for which he has been better known. The book Ramsey Campbell establishes the author’s unique prose style, denoted by a haunted self-consciousness about the act of writing and role of readership, and his distinctive mediation of the Gothic tradition: religiously agnostic, politically liberal and ethically humane. For the first time, Campbell’s works are interpreted in the contexts of trends in postmodernist and posthumanist thought and compared explicitly to King’s, and his contribution to both Gothic studies and wider contemporary literature is appraised.

Challenging the human understanding of life and death, the zombie figure represents a fragmentation of personhood. From its earliest appearances in literature, the zombie characterized a human being that was no longer an indivisible whole, embodying the ontological debate over which elements of personhood are most uniquely human. Through its literary evolution, the zombie's missing element gradually approached a finer definition, as narratives moved beyond highlighting metaphysically opaque concepts like "soul" or "will." Studying over a century of American literary history, this book explores how zombies translate cultural concepts and definitions of personhood. Chapters detail how literary zombies have long presented narratives of American cultural self-examination.

How does the soul relate to the body? Through the ages, innumerable religious and intellectual movements have proposed answers to this question. Many have gravitated to the notion of the "subtle body," positing some sort of subtle entity that is neither soul nor body, but some mixture of the two. Simon Cox traces the history of this idea from the late Roman Empire to the present day, touching on how philosophers, wizards, scholars, occultists, psychologists, and mystics have engaged with the idea over the past two thousand years. This study is an intellectual history of the subtle body concept from its origins in late antiquity through the Renaissance into the Euro-American counterculture of the 1960's and 70's. It begins with a prehistory of the idea, rooted as it is in third-century Neoplatonism. It then proceeds to the signifier "subtle body" in its earliest English uses amongst the Cambridge Platonists. After that, it looks forward to those Orientalist fathers of Indology, who, in their earliest translations of Sanskrit philosophy relied heavily on the Cambridge Platonist lexicon, and thereby brought Indian philosophy into what had hitherto been a distinctly platonic discourse. At this point, the story takes a little reflexive stroll into the source of the author's own interest in this strange concept, looking at Helena Blavatsky and the Theosophical import, expression, and popularization of the concept. Cox then zeroes in on Aleister Crowley, focusing on the subtle body in fin de siècle occultism. Finally, he turns to Carl Jung, his colleague Frederic Spiegelberg, and the popularization of the idea of the subtle body in the Euro-American counterculture. This book is for anyone interested in yogic, somatic, or energetic practices, and will be very useful to scholars and area specialists who rely on this term in dealing with Hindu, Daoist, and Buddhist texts.

Tying on case studies from late antiquity to the 21st century, this is the first volume that systematically explores the inter-relationship between fictional narratives about magic and the real-world ritual art of practicing magicians.

In MYTH, MAGICK & MASONRY, Jaime Paul Lamb develops four thought-provoking interpretations of the symbolism and allegorical content of Freemasonry and some of its appendant bodies. By viewing the craft through the interpretive lenses of ceremonial magick, solar and astrological lore and symbolism, classical mythology and the Roman Mystery cult, Mithraism, Lamb establishes four distinct vantage points from which to survey Freemasonry. Thereby, Jaime Paul Lamb enables Masons, new and old, to develop a more nuanced appreciation of the Craft and a deeper understanding of the Fraternity's priceless initiatory heritage.

This is the masterpiece of occultist, magician and philosopher Aleister Crowley, introduced for the first time by one of the world's leading experts on Western esoteric traditions, Stephen Skinner. "Do what thou wilt." Written in the early twentieth century, the four books contained within this collection make up one of the most complete and groundbreaking works on the practice of magick ever written. They are considered to be the masterpiece of occultist, magician and philosopher Aleister Crowley and the core texts for the religion of Thelema. Their influence on alternative western thought and philosophy cannot be exaggerated. Also known as Book Four, or Liber ABA, the four parts bring together many rituals, received texts, theorems and unequalled insights into the practice of magick, culminating in The Book of the Law, the central, sacred text dictated to Crowley by a preternatural entity. Anyone interested in yoga, ceremonial magic, esoteric thought, invocation, divination and beyond, or those looking to delve into the fascinating, playful and illuminating writings of a unique man, will find inspiration. For the first time, one of the world's leading experts on Western esoteric traditions and magic, Dr. Stephen Skinner, introduces the text, sharing his insights into Crowley's take on yoga, ceremonial magick and Thelema. His long involvement with magick, both as an academic and as a practitioner, enabled Dr. Skinner to highlight the differences between the psychological and the spirit-orientated approaches to magick, and to show how that dilemma shaped Crowley's practice and his founding of Thelema, enlightening the reader to many previously unknown connections.

In sharp contrast to many 1960s science fiction films, with idealized views of space exploration, Ridley Scott's Alien (1979) terrified audiences, depicting a harrowing and doomed deep-space mission. The Alien films launched a new generation of horror set in the great unknown, inspiring filmmakers to take Earth-bound franchises like Leprechaun and Friday the 13th into space. This collection of new essays examines the space horror subgenre, with a focus on such films as Paul W.S. Anderson's Event Horizon, Duncan Jones' Moon, Mario Bava's Planet of the Vampires and John Carpenter's Ghosts of Mars. Contributors discuss how filmmakers explored the concepts of the final girl/survivor, the uncanny valley, the isolationism of space travel, religion and supernatural phenomena.