First Look at Our Next Publication ADEPT’S GAMBIT by Fritz Leiber edited by S. T. Joshi (Signed limited edition hardcover)

Posted in Miskatonic Books with tags , , , , on April 21, 2014 by miskatonicbooks

We expect these to start shipping in the next four weeks!

To reserve your copy click on any of the photos below.

ADEPT’S GAMBIT: The Original Version by Fritz Leiber edited by S. T. Joshi (Signed limited edition hardcover)

 

Book with dust jacket

In 1936, the young Fritz Leiber wrote a 38,000-word novella entitled Adept’s Gambit and sent it to his new correspondent, H. P. Lovecraft. The older writer was thrilled at this sprawling narrative that mixed fantasy, sorcery, and historical fiction, and wrote an enormous letter expressing his praise and pointing out possible points that needed revision. Overall, however, Lovecraft was enthusiastic: “Certainly, you have produced a remarkably fine & distinctive bit of cosmic fantasy in a vein which is . . . essentially your own. The basic element of allegory, the earthiness & closeness to human nature, & the curious blending of worldly lightness with the strange & the macabre, all harmonise adequately & seem to express a definite mood & personality. The result is an authentic work of art.” 

Foil stamping

 

For decades, it was believed that this version—which contains small but significant references to Lovecraft’s Cthulhu Mythos—was lost. But the manuscript has recently surfaced, and it is now being published for the first time. This version differs radically from the later version published in Night’s Black Agents (1947), and represents a landmark in the development of Leiber’s fantasy career. As the first Fafhrd and Gray Mouser narrative, it will be of consuming interest to all devotees of Leiber’s work. 

Custom colored endpapers

This edition contains the complete, unabridged text of “Adept’s Gambit,” along with the complete text of Lovecraft’s letter commenting on it, as well as an introduction by S. T. Joshi providing background on the writing of the story. In all, this volume will find a cherished place among devotees of Fritz Leiber and H. P. Lovecraft. 

Text block

One of only 500 signed and numbered hardcover copies. Each copy is signed by the editor S. T. Joshi and hand numbered. Full color printed custom endpapers, foil stamping, and sewn binding. 

 

New, Rare and Interesting Items This Week at Miskatonic Books

Posted in Miskatonic Books with tags , , , , , , , , , , , , , on April 7, 2014 by miskatonicbooks

To get ordering information on any title just click on the picture.

Many of the books we carry are rare and we have a very limited quantity. All books are sold on a first come first serve basis.  All books are available for layaway.

We are always interested in buying Esoteric, Occult, Freemasonry, Alchemy, Golden Dawn, Hermetics, Ceremonial Magic, Witchcraft, Religious, Philosophy and Lovecraftian fiction. Feel free to contact us at miskatonicbooks@me.com

 

THE TESTAMENT OF CYPRIAN THE MAGE 2 volume set by Jake Stratton Kent (Deluxe Quarter-bound in veiny vellum, numbered and slipcased)

 

Infernal Pact fine edition. Limited to 72 hand-bound exemplars.
Quarter-bound in veiny vellum. The covers are finished in custom marbled papers and the spines blocked in gilt.
All edges gilded, and the volumes come ribboned and slipcased.

The Testament of Cyprian the Mage, a two-volume work by Jake Stratton-Kent, comprehending The Book of Saint Cyprian and his Magical Elements and an elucidation of The Testament of Solomon.

The Testament of Cyprian the Mage is a two volume work of approximately 600 pages endowed with charts, tables, seals etc. and punctuated by specially commissioned pen and ink illustrations by Oliver Liebeskind. Lavishly bound and printed in red and black ink throughout, this is a work of enduring importance and a resource to accompany your ongoing study.

 

This is the final work in Stratton-Kent’s acclaimed Encyclopaedia Goetica series which began with The True Grimoire, a working reconstruction of the Grimorium Verum, and was followed by the monumental two volume Geosophia: The Argo of Magic which explored the necromantic Greek origins of Goetia.

The Testament of Cyprian the Mage is a fitting climax to this endeavour which has placed the author at the forefront of modern magic with a body of work that is both scholarly and aimed at practical application. All are standalone texts though benefit from being read as aspects of a single thesis: the importance of Goetia as the oldest continuous tradition of Western magic.

As Stratton-Kent affirms, ‘Goetic Magic … if properly understood would regenerate Western magic and underline its immense cultural significance, on a level equal to any spiritual tradition in the world.’

This understanding is clearly given in two volumes of lucid and fascinating exegesis with clear extracts from all the necessary works.

The Testament of Cyprian the Mage is an ambitious and far-seeing work, addressing two ends of the magical spectrum: the Testament of Solomon and a version of the Iberian Book of Saint Cyprian. In doing so, key aspects of magical practice are revealed.

This work draws upon these texts to create a clear understanding of the practice of grimoire magic, not as a discrete or degenerate subset of ceremonial magic, but one which is integrated with folk magic and witchcraft. In particular we discover a shared dramatis personae, the infernal pact, and a common terrain of Wild Hunt and Sabbat.

Within the text we encounter the Chiefs, Kings and Queens of the grimoire tradition; the magical role of the Decans and their stones and plants; lunar magic and magical animals; the gods of Time; the Sibyl and the Hygromanteia; Asmodeus and Oriens; Angelology, Theurgy, Conjunction and the Pact, the Angelic Vice-regent and thwarting Angels; Asclepius, Iamblichus and Neo-Platonism; Paracelsus and the Elemental Spirits; Necromancy, and the principles of spell work.

As Jake writes, ‘A primary purpose of this book is to explore the implicit mythology of grimoire spirits and the contexts from which it derives.’ It does far more. This is a fundamental revisioning of magic with profound implications for the magical revival which we are all engaged in.
Jake Stratton-Kent has been a goetic magician since 1972, making more than forty years of continuous goetic practice. His practical work integrates the magical papyri, italo-french grimoires in particular the Grimorium Verum and African traditional religions with a focus on Quimbanda and magia negra. His interest in magic spans the ancient, medieval, renaissance, and modern as well as stretching from the West to the Middle East and crucially, the New World. His scholarly approach is backed with a personal relationship with the spirits, which is rare to find in the modern world.

 

THE GRIMOIRE OF TIAMAT by Asenath Mason (Bound in blood red goatskin) The Adeptus Draconis Edition

 

The Adeptus Draconis Edition of the Grimoire of Tiamat boasts a full red goatskin binding, gold foil stamping to the cover and spine, a black place marker ribbon, red and black hand marbled French endpapers, and raised ribbing on the spine. One of only 15 copies produced!!!! Book is in new unread condition.

Tiamat is the Primal Dragon Goddess, “the first one, who gave birth to the gods of the universe”, the Mother of Everything, the self procreating womb, the source of all life and all manifestation. The work described in this book was inspired by the Babylonian epic known as the Enuma Elish, one of the oldest Creation myths in the world.

All Ritulas described in this book were performed and tested, and their results have been verified to prove their efficacy.

 

IDOLATRY RESTOR’D Witchcraft and the Image of Power by Daniel A Schulke (Bound in Green Goatskin Special Limited Edition)

 

Full ivy-green goatskin, marbled endpapers, limited to 66 copies. Book is in new unread condition. See image tab above for more pictures.

The translation of magical power to image is a matter well understood in so-called ‘primitive’ sorcery, in which occurs a mutual embodiment of re-presentation and the Represented. The Fetish, for example, apprehends a reciprocal process between Object and Creator that often begins long before chisels and adzes are set to wood, participating in its own reification. Many of these eldritch forms of image-making were concerned with accessing power, and it was only later, in the context of religious devotion, that their forms densified into ‘mere’ idols. With increasing levels of religious control over art, a Moiré pattern arises between the Artist and the forces of the Divine, which may either suppress individual visionary power in favor of canonized icons, or, when correctly accessed, give rise to an ‘heretical creativity’.

Witchcraft, because of its syncretic nature, partakes in multiple infusions of traditional image-making lore, including not only sorcery and religious iconography, but also science, craftsmanship, and the fine arts. However, because much of its images are used privately, and indeed created for a limited set of observers, they participate in a concentrated alembic of exposure wherein all who experience them do so in the context of magical practice and devotion. This intensity of private magical interaction provides a locus which enables the image to transcend its medium —and indeed that fetish known as ‘icon’— and generates living numen.

First published as an essay in the British folklore quarterly The Cauldron in 2009, Idolatry Restor’d drew upon the experiential arenas of magical practice and Image-Artistry which came to inform Schulke’s book Lux Haeresis (Xoanon, 2011). Here substantially expanded with illustrations prepared especially for the work, Idolatry Restor’d is a book of engaging fascinum for both Artists and Beholders alike, and strikes at the heart of magical image-aesthesis.

 

Back in stock and in short supply

VOLUBILIS EX CHAOSIUM: A Grimoire of the Black Magic of the Old Ones by S. Ben Qayin (Hardcover Limited Edition)

Bound in green cloth with black foil stamping and stunning textured end papers. 133 pages. Printed on high quality paper and includes ceremonial diagrams and 5 full page illustrations by the sinister artist Lucas Pandofelli. Hand numbered and limited to 478 copies.

On the 75th anniversary of the passing of H.P. Lovecraft, Dark Harvest brings you Volubilis Ex Chaosium, a grimoire of the Black Magic of the Old Ones.

“Howard Phillips Lovecraft through his classic works on the Cthulhu Mythos and Necronomicon introduced his cosmicism philosophy and system of forbidden knowledge to early 20th century readers. Regarded by many as one of the most influential authors of the 20th century, he was an avid and masterful storyteller, or as some believe a magician, in his own right. Decades after publication, his works have been the inspiration of many notables within the fantasy, science fiction, horror and occult genres. However, of particular interest is the system of dark magic employed throughout these works. Some have looked upon these works as occult fantasy, while others believe there is a much deeper meaning within the tradition of the magician storyteller passing down a complete system of dark magic to a selected novice capable of intuitively transcending beyond a mere storyline. To some who have examined the works of H.P. Lovecraft, there is an apparent logical and practical system of dark magic that can be assimilated. Throughout the years many have based their own works of occult fantasy and grimoires on the works of H.P. Lovecraft.”

“In Volubilis Ex Chaosium, a new practical approach has been revealed, a key dedicated to the pursuit and practice of the dark system of magic as prescribed by Lovecraft throughout his works. Never before has the very practical foundation of this dark system been offered through any tome; where the flourishes and dramatic flights of fancy of the storyteller have been stripped away leaving a solid bedrock of practical dark magic for those who are so inclined to dare enter the dark realm of Chaos Magic from within their own ritual chamber. Make no mistake, Volubilis Ex Chaosium is by no means a study of Lovecraft’s dark system of magic, it is an instruction guide from the acquisition of the instruments of ritual to the conducting of actual rituals within this system.”

- Dr. Robert Ing

S. Ben Qayin, with his vast knowledge of dark occult matters spanning over decades, found Lovecraft’s work to be so compelling, that after careful study a complete practical system of dark magic became more than evident to him within. Just as the magician storytellers of bygone centuries ignited a dark flame within their charges, so too was the case of S. Ben Qayin, who was so moved by what he had found, there was little doubt this system of magic as told by Lovecraft had been obtained
from beyond the mere imaginative genius of the storyteller
alone.

New, Rare and Interesting Items This Week at Miskatonic Books

Posted in Miskatonic Books with tags , , , , , , on March 24, 2014 by miskatonicbooks

To get ordering information on any title just click on the picture.

Many of the books we carry are rare and we have a very limited quantity. All books are sold on a first come first serve basis.  All books are available for layaway.

We are always interested in buying Esoteric, Occult, Freemasonry, Alchemy, Witchcraft, Religious, Philosophy and Lovecraftian fiction. Feel free to contact us at miskatonicbooks@me.com

 

GRAVEYARD WANDERERS by Dr. Tom Johnson (Deluxe Leather Bound and Inlaid Copper Skeletal Hand)

 

Limited Edition: Limited to 180 numbered copies, this copy being #109 book is in fine unread condition

The Physical Manifestation of the Book

Printed on 180 gsm Fabriano Ingres, a real laid paper, whereby the textures are natural product of the pulp on wire mesh frames rather than being artificially embossed with a pretend texture. The covers are bound in leather cloth, a binding material that is 85% real leather and a sheet of copper, formed into skeletal hands. The Wise Ones would pay for the services of the Dead by leaving in place of the bone, a piece of metal in the form of a coin or a scraping from a church bell. Metal is an ideal vehicle for the transmission of deathliness, Coffin nails were recovered, sometimes to be entwined with horseshoe nails by a smith evoking infernal beings, and put to magical use. Needles employed to sew a corpse into its shroud were likewise sought after. Some of the charms in this book derive from the black art book of a smith, nestling amongst mundane recipes for the working of metals. But then metal is the zenith of man’s art. It’s mutability to will and permanence makes it ideal for coin, offerings to the dead, and for holding the form of skeletal hands in the binding of this book, so the reader feels the shape of dead fingers interlaced with their own. Bones are the part of us that persist after decay, and here the copper that forms their shape has been patonised, whereby the natural oxidation process is accelerated and stabilised. The result are iridescent colours, an effect referred to as the “peacock’s tail” in alchemy, where it is identified with the stage of decay in the Great Work. The patonised copper is then preserved with lacquer.

 

Looking at the fingers, the reader’s eye may glimpse an optical illusion. Look awry and the bony fingers appear as valleys instead of standing proud, a visual ambiguity fit for the liminal space between the worlds of the living and the Dead,a recurring aspect of the rituals. It is also resonant with the amoral path of the Wise Ones.

Whether skeletal bones or living flesh every hand is unique. The gloriously unpredictable nature of the process, the form of creases in the copper sheet and the hand contouring to the background makes ever hand, likewise, unique. This variation has been embraced, with great variation in colours of patonisation and some copies having uncontoured backgrounds. Each pair of hands are prepared together, so broadly, the boards of each book do match. The handmade nature of each copy has been reinforced by deliberately assembling the components by eye, rather than measurement. The resultant, mostly imperceptibly, variations giving each copy an organic, handmade feel.

The black cloth is lettered in white as there is a tradition within the corpus that is how a black art book should look. Curiously, the same tradition occurs regarding some talismans is found in the folk magic preserved in the French grimoires. The sense of this tradition is unclear, though an observation based on handling copies of this book is that white letters on a black background can be discerned more clearly in half-light, perhaps appropriate for night time rituals in churchyards.

The endpapers are specially commissioned, handmade decorated pastepaper. Decorated pastepaper endpapers predated and continued to be used alongside marbled paper into Victorian times, but are rarely employed now. Here the process produces amorphous, chaotic swirls which have skeletal fingers clawing through them.

Each copy is hand numbered by a calligrapher.”

The author translated 37 manuscripts books known as “Svartkonstbuchs” [ie black art book} which Scandanavian practitioner’s of folk magic were expected to possess. This work collects together all those charms and rituals dealing with spirits of the dead and human bones, with the addition of some other relevant material. What emerges is a remarkably coherent and straightforward system that can be simply described:-

  • 1) Practitioners were solitary, they could be self initiated into dealings with the dead by means of performance on one of a number of rituals given here. The Dead were then entreated or conjoured, usually with payment, to serve the practitioner. They were particularly suited to certain kinds of workings:-
  • 2) Being now beyond pain, the Dead were called upon relieve the living of their suffering.
  • 3) Seeing beyond the physical, they could be asked to detect thieves and torment them into confession, or else set the stillness of death upon them, transfixing the miscreant. Curiously, the practitioner would not be able to punish or even berate the criminal thus held. All that can be done is to order the thief’s release, unmasking being the only permitted sanction.
  • 4) The Dead could be required to communicate the stillness of death to people, or animals, the latter to assist hunting.
  • 5) They might be used for hexing, communicating death, illness or insanity to the victim.
  • 6) They can be instructed to protect the practitioner, their client or property.
  • 7) The Dead, being beyond time, can be called upon to predict the future for the purpose of gambling. And they can influence the roll of dice etc.
  • 8) They can also assist with hunting by conferring lethality to ammunition and assisting with aim.
  • 9) The spirits of the Dead, being invisible, can share this power with the practitioner
  • 10) A spirit of the Dead can be held in a box or bottle, or exchanged for a rune stone, so as to be handy to assist the practitioner.
  • 11) By passing through Death in the form of a belt made of a corpse’s skin or sinew, the practitioner may transform into animal form
  • 12) The practitioner must always return the bone, and therefore the spirit, to the churchyard.

 

SOLOMON’S CLAVIS Or Key to Unlock the Mysteries of Magic translated by Frederick Kockley (Half Bound in Leather Talismanic Limited Edition)

 

One of only 144 half bound in leather editions with a unique and original hand-drawn talisman, imbedded in the front cover, of the Jupiterian pentacle for a Game of Hazard.

“A Previously Unpublished Grimoire Available From Caduceus Books
Ebenezer Sibly, Solomon’s Clavis, or Key to Unlock the Mysteries of Magic, Society of Esoteric Endeavour 2008. 306pp of which 150pp carry text, the remaining being blanks. Every page is printed in full colour. Limited Edition of 144 copies each bearing a talisman embedded in the cover, bound in either full, half or quarter sheepskin leather, every copy is different. Page edges sprinkled.

Sibly wrote the original manuscript c.1800, translating its core from French but also writing many additions including a preface and the talisman designs. The text is entirely different from the Key of Solomon as translated and publishjed by McGregor Mathers. The occult bookseller John Denely (Mr. D. in Bulwer Lytton’s Introduction to Zanoni) sold Sibley’s manuscript for an extraordinary sum to the Duke of Wentworth but whilst in his possession he arranged for Frederick Hockley to make a copy. This copy was then sold to F. G. Irwin who placed his bookplate upon the preliminaries plus also a cut out of the catalogue description (Manuscript…copied from very rare original manuscript with diagrams exquisitely done by a professor). Whilst the scribe signs himself “R.C.” the handwriting can be confidently identified as Hockley’s. The books offered here are facsimile reproductions of Irwin’s copy, also reproducing his bookplate and the catalogue entry. It should be noted that each individual sheet of the original is reproduced, and then the book has been hand sewn in the same sections as the original. So, it is hard to tell from the pages that it is not the original manuscript. Irwin’s bookplate, plus the bookplate on the front pastedown that identifies it as a S.E.E. publication, are both printed on Griffin Mill handmade papers

 

As with previous S.E.E. publications there is no modern introduction or forward. A 21st viewpoint would jar with those of the original authors and scribe. The desire is to present these, bound in a manner respectful of their intents, so that the reader may establish their own relationship with the material. This relationship may range from scholarly research, and there is a great deal to investigate concerning this work, or else of practical magic.

The original 11pp preface by Sibly (or Sibley – both spellings occur) presents a passionate argument for the nobility and efficacy of magic worked through spirits. He cites Jacob Boehme as an authority.

The introduction describes how the talismans should be made, either on appropriate metals or on animal skin parchment, the animal being ritually slain and the skin specially prepared. An example of one of the talismans on animal skin vellum is embedded in the front cover of each book. The animal was not killed in the manner described however, for practical reasons the vellum was prepared in a particular fashion. Book covers receive a great deal of wear and there would normally be a worry that the design of the talisman would rub off. So a rare 18th century binding solution has been adopted. The vellum is cured to be translucent, the image, in reverse, is then placed on the side of the vellum that is against the book board, The design is clearly visible through the transparent vellum. Some modern readers will feel an understandable discomfort using an animal product in a talisman. Some of the books have the talisman printed in a conventional manner upon “vegetable vellum” which is a paper, made from natural plant products natural plant that is designed to have the same appearance as vellum. These particular copies have a “VEG” component in their order numbers.

Given the planetary natures of the talismans it was felt appropriate that the gilt decoration of the covers should show them encircled by stars. The cloth, sheepskin leather (an excellent binding material rarely used nowadays) and the textured endpapers were all chosen so as not to distract from the talisman itself. These are elegant and hauntingly executed by Hockley. They are also an important social document as to what magic Sibley was asked to do. Whilst the magic involves the respectful conjuration of noble planetary spirits there is an implied acceptance of human foibles, with talismans for the promotion of amorous affairs and games of chance. That said, none are overtly negative. There is no cursing of your neighbours to be found. The ones for good fortune in military affairs reflect the Napoleonic Wars then raging. Curiously there is one for protection against and freedom from slavery. Though some Barbary pirates kidnapped people from the West Country coast at this period, it is a surprise that people in c1800 England feared slavery. However further description of the talisman in the text makes it clear that transportation and bonded labour are also being referred to. We find that we know of these practices by their official euphemisms whilst those who had to fear them just called it slavery.`

 

The magic described is a curious mix The exposition of planetary hours, magic squares and so forth being quite mainstream and scholarly, whilst other aspects are of the nature of folk magic. The incenses are not, at all, vegetarian involving a curious mixture of body parts of various wild animals plus plants etc. The astrological considerations involve some star lore and occasional, apparently folkish application of lunar mansions. Also some named Jewish Cabalists are cited as an authority. Whilst the writers all consider the magic to be consistent with Christianity, and Christian powers are invoked, it is not in the Catholic, Ecclesiastical Underground tradition of the Grimoire of Pope Honorius or the Grimoire of the Spirit of the Place. In these works infernal beings are compelled to appear and obey by means of Christian powers. In Sibley’s Clavis of Solomon the powers invoked are noble spirits which are respectfully invoked.

Pomba Gira and the Quimbanda of Mbumba Nzila by de Mattos Frisvold, Nicholaj Edited by Peter Grey and Alkistis Dimech (This is a Deluxe, Quarter Bound in Leather and Silk in Custom Slipcase)

 

Rainha da Figueira do Inferno fine bound edition
70 exemplars
Speckled crimson leather quarterbound, shot silk boards double marbled ends, slipcased. This is number 66 of 70.
Book is in fine condition, slipcase has some very light shelfwear else fine. Click on Images tab above for more pictures of this rare and unique item.

A significant study on the cult of Pomba Gira, this is the most comprehensive work in the English language on the Devil’s mistress, whose Brazilian cult has bewitched so many.

It is a book that those seeking congress with the current of strong female magical sexuality have long desired.

The hardback Salve Regina! edition of Pomba Gira is an octavo book of 232 pp lavishly illustrated with thirteen erotic studies in pen and ink by Enoque Zedro, and over forty of her pontos riscados. The boards are extravagantly dressed in red moire silk with a sunken letterpress panel depicting one of the Queens.

The lively typography and design capture the energy of this most feminine and coquettish of spirits. Also available in paperback and forthcoming digital editions.

A beguiling spirit, Pomba Gira gives solace to the broken hearted, vengeance for the wronged, and a fierce path for those that would take her as muse.

In Pomba Gira Frisvold gives explicit workings, baths and waters, her songs and chants. Her plant allies among the nightshades are described in a full herbarium. The attractions and dangers for both men and women who make cult to her are presented, as are her many faces. Pomba Gira has origins in the witchcraft of Portugal, the Basque Country as well as Congo and the native influences of Brazil.
The witchcraft fusion makes her cult particularly accessible to Westerners whose own traditions share much ground with Quimbanda.

Frisvold carefully unravels the skeins, revealing her origin in historical figures such as Maria Padilha, but more deeply still through archetype and myth to the very essence of her skin shedding nature.

He finds the origin of her name in Congo, the cult of divine possession amongst the slave camps of Brazil, and brings us through to her more modern manifestations and his personal work with the Queen of the Fig Tree in Hell. As an initiate and devotee, he gives an insider’s view with the same respect and experience he demonstrates in Palo Mayombe: The Garden of Blood and Bones.

We walk through the Queendoms of Lyre, Cemetery, Sepulchres, Streets, Crossroads, Wilderness, Soul, Oceanshore and Calunga.
The workings of twenty four different Pomba Giras are given, from Cigana the gypsy to the split skull face of Rosa Caveira.

Through the razor blades in honey, the cigarette smoke and the sweet anisette spilt in the graveyard, Pomba Gira takes seductive shape.

 

IPSISSIMUS by E. A. Koetting (First Edition Hardcover)

 

This is a first edition hardcover in fine unread condition

“A sure method must be elucidated on the matter of self-godhood and its attainment. The trickeries of sorcery and devotions of mysticism are but paths to the same palace, but ritual and prayer must be set aside and a straight line must be drawn from one point to the other.” – Ipsissimus

After providing a terrifying look into the most secret workings of the occult, and after divulging the methods by which man may have immense power over the physical world through spiritual methods, E.A. Koetting now unveils Ipsissimus: the one written work in existence which unabashedly draws the straight line between the upper and the lower, between the finite and the infinite; between man and God.

For over half a dozen years and six full-length books, Koetting has tempted his readers with the idea of Ascent – gradually and consciously developing the spiritual faculties to ever greater perfection, leading towards the realization of one’s own absolute godhood. Now, with Ipsissimus, all that has been eluded to is laid out in concise detail.

Taking his autobiographical teaching style to the extreme, Koetting presents his struggles with his own spiritual transformations, revealing the challenges that he has faced in confronting the furthest limits of human experience, and laying bare the emotional, psychological, and personal devastations and exaltations encountered on his path towards Mastery. Combined with his unique ability to make usable and practical to the average reader even the most esoteric practices, offering instructions, suggestions, and specific directions throughout, Koetting weaves Ipsissimus into both an intimate and gripping read, as well as possibly the most useful tome on the subject of spiritual transformation and Ascent.

 

1500 Year Old Shaman Still Guarding Tomb!

Posted in Miskatonic Books with tags , , , on March 16, 2014 by chrisperridas

From this report comes the headline:

Ancient shaman discovered in Mexican tomb: 1,500-year-old sculpture found guarding bodies in underground shaft

Archaeologists at the National Institute of Anthropology and History (INAH) who have become the first people to see the sculpture in hundreds of years.

Archaeologist Marco Zavaleta explained that the model was found in the entrance of an underground funerary space in Villa de Alverez.

‘With regards to the figure of the shaman, he was found upright and is holding some kind of weapon, probably an axe. He was placed exactly at the entrance, towards the crypt. He is some kind of a guardian of the main character deposited inside the shaft tomb,’ he said.

More images, story, and video here.

New, Rare and Interesting Items This Week at Miskatonic Books

Posted in Miskatonic Books with tags , , , , , , , , , , , , on March 10, 2014 by miskatonicbooks

To get ordering information on any title just click on the picture.

Many of the books we carry are rare and we have a very limited quantity. All books are sold on a first come first serve basis.  All books are available for layaway.

We are always interested in buying Esoteric, Occult, Freemasonry, Alchemy, Witchcraft, Religious, Philosophy and Lovecraftian fiction. Feel free to contact us at miskatonicbooks@me.com

 

THE CATECHISM OF LUCIFER by Johannes Nefastos (Deluxe Leather Bound Hardcover Edition) 1 of only 100 copies published!

 

THE CATECHISM OF LUCIFER. Deluxe Edition, limited to only 100 hand-numbered copies.

Place Published: Finland
Publisher: Ixaxaar Occult Literature.
Date Published: 2013.
Edition: First Edition in English
Binding: Leather Bound
Condition: Fine, new, unread.

Description:

12mo, original black grained goatskin leather elaborately stamped with an inverted cross in gilt on upper cover, the spine with raised bands but untitled, black endpapers, all edges dyed in black, ribbon bookmarks. Text from John 12:25 printed in gold along the edge of the inside cover. 82 pp, illustrated, printed on special linen embossed cream paper. The Deluxe Special edition, limited to only 100 hand-numbered copies. A fine, new, unread copy.

A Devotional Work. The Catechism of Lucifer was written as a counter-gospel for the Evangelical Lutheran catechism, but in addition to this, it represents a Gnostic form of Satanism on its own. In this book is outlined the path out of worldliness, out of theology mortally wounded by its false theodicy, even out of humanity taken as something small-minded, powerless and petty. The Catechism of Lucifer is founded upon the idea that by hating the perverted picture made of God by the Christian doctrine, we may truly attain higher possibilities for our Spiritual development and Empowerment. On this demanding but beautiful and meaningful path we are led by our innermost potential of ingeniosity, the divine Master Lucifer. In the Catechism there are included the following texts: The Ten Commandments of Lucifer / The Satanic Credo in Three Creeds / The Master’s Prayer in Six Articles / Of Lucifer’s sacraments / Of Demons / Of Magic / Of the Responsibility of the Individual / Of Satan / And many relevant quotations taken from the different sources of Star of Azazel’s literature. “In contradiction to what Christianity is trying to assure us, Satan is not the Lord of flesh, filth, and deception or the deceiver of mankind, but the one who elevates people from the emptiness of their ignorance.”

 

SALOMONIC MAGICAL ARTS translated by Frederik Eytzinger (Deluxe Leather Bound Limited Edition Hardcover)

 

Full crimson goat, marbled endpapers, limited to 72 hand-numbered copies. Book is in near fine condition with very light shelf wear else fine.

Water, I exhort you olansgält. Lucifer, I exhort you with all your company, that you will bring my belongings back again. May the thief never come to peace, neither at night nor at day, sleeping or awake, riding or on foot or by any means, until he returns what he has stolen..

–From A Spell To Catch Thieves

Amid the great genres of European magical books are the Scandinavian Svartkonstböcker or ‘Books of Black Arts’, the privately-kept practical manuals of magic used by rural charmers and practitioners of folk magic. Incorporating charms, prayers, and curses, as well as medicine, alchemy and physical experiments, many of these books survive today in universities and private collections. While bearing some relationship to the corpus of  European grimoires which feature angelic and demonic magic, the Svartkonstböcker as texts of magic are in a class all their own.

Salomonic Magical Arts consists of two such volumes, originally handwritten in the early eighteenth century.  Named The Red Book and The Black Book by one of their owners, they passed through the hands of priests and cunning men before coming to rest in academic institutions. Invoking a variety of spirtual powers ranging from Christ to Beelzebub, its magical formulae, numbering in excess of 450 individual receipts, serve as a testament to the endurance of sorcery in the early modern era. First published in Swedish in 1918, Salomonic Magic Arts is here published in English for the first time.

Introducing the work is a substantive introduction by the translator, which places the book in its cultural and magico-historical context, including Swedish cunning-folk traditions (trolldom) the European grimoire tradition, traditional magical healing, pagan belief, and the relationship between folk magic and the church.

Octavo, 280 pages, Salmomonic Magical Arts is illustrated throughout with sigils and rare photographs. The sigils and magical seals were drawn by Maria Olsson after the original source documents, especially for this first English edition.

 

VOUDON GNOSIS by David Beth (Deluxe Quarter Bound in Snake Skin Hardcover Edition)

 

Quarter Bound in REAL Black Snakeskin!

This is a very important book for anyone interested in the work of Michael Bertiaux, and also the Typhonian Trilogies of Kenneth Grant. As its title suggests, it deals with Voudon Gnosis, in particular, the Voudon Gnosis of Michael Bertiaux. Anyone who has read (or attempted to read) Bertiaux’s The Voudon Gnostic Workbook, or the courses from the Monastery of Seven Rays, will know these works of “sprawling immensity”, are not easy to read & understand, and even more imposing, if you are trying to put them into practice. “David Beth has known Michael Bertiaux for many years, and has acquired a great deal of experience in the myriad aspects of Michael’s work. In the present book he picks out various themes from The Voudon Gnostic Workbook, as well as from the Courses offered by The Monastery of Seven Rays and offers his own insight into them, on the basis of his own experience.” (Michael Staley – Foreword to Voudon Gnosis).

This book is indispensible for anyone interested in Bertiaux’s work, and is a superb book on the Voudon current, in its own right. Beth clearly and concisely elucidates the essence of Bertiaux’s work, and allows those who are interested in working with these energies, a fast way in. There are also many diagrams, illustrations, and full colour plates.

Book has light rubbing to back board else fine.

fifty five copies of voudon gnosis are quarter bound in black snakeskin and finished in a stygian black paper which is embossed with an ophidian design. the endpapers are hand marbled and swirled. the foredge stained black. all copies of the deluxe are personally signed and sigilised by david beth.

 

BY MOONLIGHT AND SPIRIT FLIGHT by Michael Howard (Deluxe, Limited Edition, Bound in Goat Hardcover)

By Moonlight and Spirit Flight: The Praxis of the Otherworldly Journey to the Witches’ Sabbath

Deluxe Hardcover, full chestnut goatskin with marbled endpapers, limited to 80 copies

Three Hands Press Occult Monograph No. 4

The Devil read out a roster of those present from a black book. A fire was then lit and the Horned One sat on a throne to receive the worship of his followers. At his side was the leading female witch, a woman known as the Queen of the Sabbath. The witches saluted the Devil by means of the osculum infame or ‘obscene kiss’, which was given under the tail…

As has been established by historians such as Dr. Carlo Ginzburg and Eva Pocs, the topological elements of the medieval Witches’ Sabbat –the ecstatic nocturnalia of the lamiae — carry relics of the ancient spirit-cults and localized folk-beliefs of Europe. Elements haunting witchcraft-practices included the night-roving denizens of the Wild Hunt, the exteriorised or shapeshifted spirit-double, and the profaned sacraments of Christianity itself. Of particular interest in the present essay is the phenomenon of nocturnal spirit-travel and its connections to present-day occult practice as manifested within the Sabbatic Cultus of traditional witchcraft.

In this fourth book in the Three Hands Press Occult Monograph Series, British folklorist Michael Howard casts an eye over such elements as the ancestral horde, the flight of the Furious Host, and the entheogenic Witches Salve, each of which played a unique role in the Sabbat of the Witches. The mythos of the Sabbatic conclave, containing infernal and diabolical elements, is taken beyond its Christian pathology to connect it with actual practices in folk-magic.

Book is in new unread condition

 

The Authentic Red Dragon (Le Véritable Dragon Rouge) with The Black Hen (La Poule Noire) Translated by Joshua A. Wentworth (Signed Limited Edition Hardcover) VERY RARE

Le Véritable Dragon Rouge, or as it is more commonly known, Le Dragon Rouge (The Red Dragon) is one of the most notorious of the little books of black magic known as grimoires. This Teitan Press publication includes a complete facsimile of the earliest known edition – a French printing that is dated 1521 (although it was probably actually published in the early 1800s) – along with a complete English translation by Joshua A. Wentworth. It is prefaced with a thoughtful and sometimes humorous Introduction by Silens Manus. The text of Le Dragon Rouge is typical of grimoires of the time, and is clearly related to the Grand Grimoire. Its anonymous author claims that the work is derived from the wisdom of the legendary King Solomon, and then sets down instructions for the creation of a number of magical implements: blasting rod (wand), talisman and magic circle, that are to be used to summon the demon “Lucifugé Rofocale,” who is then bound over to serve the sorcerer. In the process a great many sub-demons are named, and their attributes listed. This is followed by a series of magic spells or recipes for various purposes; from making oneself invisible, to winning the affections of another, to the cure of various common ailments. The book ends with a chart of lucky and unlucky days and a short version of the treasure-finding text known as La Poule Noire (The Black Hen). Le Dragon Rouge was very popular in early nineteenth century France, going through a number of clandestine and semi-clandestine printings, and is still said to be one of the most highly revered magic texts in certain Voodoo circles in Haiti. The book is a hardcover, small octavo sized (7 1/4″ x 5 1/4″) 208pp. Sewn, printed on acid-free paper. Bound in heavy black cloth with a gilt dragon design on the front cover, and gilt title to the spine. Red “coffin silk” endpapers. Rubricated titles and frontispieces, black and white illustrations. Edition limited to 800 numbered copies. Signed on an attached bookplate by Silens Manus who does the introduction. Book is in fine condition

 

Full Moon Magick Meanderings

Posted in Miskatonic Books with tags , , , , on March 7, 2014 by chrisperridas

There are many opinions on magick. This blogger believes that magick is a personal narrative, and its use changes the person invoking it, not necessarily others – though sometimes it does. Perhaps this narrative will affect a small change in you, the reader?

In it, I explain that the circumstances are special and unusual, the “stars are right”, and alchemical symbology is brought to bear. A few of you know me as a sometimes writer of horror, and in the early 2000s I was very much churning out these stories. This essay was a product of that decade.

May you be inspired to create your own “talisman” and your own magickal narrative.

Full Moon Magick Meanderings

(c) 2005 Chris Perridas, (c) (revised 2014) Miskatonic Books

One of my deepest horror story inspirations is the diversity of the flora and fauna of the natural mid-latitude North American forest. They often color the plot and descriptions around my human protagonists. The myth of evolutionary biodiversity of the many complex organisms living in the forest make interesting paradigms for storytelling.

On March 25, 2005, I decided to try to blend those two visions – myth and math, science and séance. A planned nature walk in a nearby forest preserve gave me the opportunity to experience real life metaphysics. A full moon night walk in a deserted 12,000 acre forest cried out for a magic incantation.

I studied and consulted to find just the right spell. It had to be one that could be factually checked, yet one that was personal. I created a talisman based on both Wiccan traditions and Alchemical wisdom. In a bag, I placed beeswax as a symbol of the forest fauna and a vial of chia oil as a representation of the flora. I added a silver ingot – the alchemical metal of the moon and symbol of purity. Inside this talisman bag I added a pencil and a piece of paper – ancient symbols of writing.

As the day arrived, magic hung in the air.

Earlier it had rained and fear closed in my throat. Would the dark clouds that poured rain cancel my chance? Then, an answer to prayer! The sky opened and the sun came out. As the sixty degree evening progressed, the anticipation built like a steady drum beat. As the sixty degree evening progressed, my anticipation built like a steady drum beat. Magic hung in the air. I could feel it as I drove to the forest just as dusk settled over the landscape.

The full moon this year bridged Vernal Equinox (March 20, 2005) and Easter (March 26, 2005) with one of the shortest spans possible. The origin of the March moon’s nickname, Crow Moon, came from a long ago legend. Eighteenth century Algonquin natives bantered with French trappers around fires as they dickered over furs. They spoke of the crows and their appearance at this particular full moon – a black as crow night.

I got out of the car and walked about the arboretum, our starting point for the trek. The six-thirty sky still held a western sun bright and shiny. In my pocket was my talisman and spell.

The rest of the group milled about. I found a bench, gripped the talisman and prayed, breathless, “O’, Gods, grant fecundity to my writing. Be merciful and grant my muse to open my soul and let the hearts of those who read soar at the script I pen. Send me a sign.”

A slow breeze chilled the air. The sign I needed appeared. A lady beetle – a tiny orange bug – the color of the low setting sun – appeared magically out of thin air and lighted on the arm of the bench. I looked. The wings each had a pattern of four dots for a total of eight.

I contemplated the significance of eight. I knew that ‘six’ was the imperfect number of man. ‘Seven’ was the number of perfection. ‘Eight’ was the sign of enlightenment. Karma! Nature had replied to my spell.

I got up to join the rest of the group to start the evening hike. Birds began to sing their sweet goodnight songs to their mates. Out on the lake, geese called out with throaty trumpeting.

In the woods, spring peeper frogs chimed with their ‘peep, peep, peep’. These little frogs – some call them Easter frogs or Resurrection frogs – have crosses on their back. It was another sign that magic worked around me, since Easter loomed just days away.

The sun vanished beneath the horizon as the guide discussed what we would see and experience. At that moment, we all looked up at a noise. A blue heron flew over the lake, its gray-blue silhouette contrasted stark against the navy-colored twilight sky.

Walking past the lake, bats began to fly over the water. Whether they eased out of crevasses of shaggy bark hickory trees or emerged out of thick piles of forest leaf litter, I could not tell. They swooped about over the water and clicked their sounds.

I laughed silently to myself recalling Chapter 8 of Dracula … “the fact is … there came a big bat and sat on the window sill. I have got such a horror of the damned brutes … that I cannot stand them..”. These creatures, though, were elegant and agile, but we gasped as they began to get a little too close to us for comfort. That’s when I remembered what my Mom had told me years before. It was bad luck to have a bat caught in your hair – well, indeed it would be! – so we all moved quickly onward.

On this special night as it is with all full moons, the very moment the sun set, the Crow Moon rose. It slowly crept up over the hill behind the lake as the sky faded, darker and darker. We rounded the lake and walked up an inclined hill to a vast plateau filled with hollies. While this collection was one of the foremost in North America, I couldn’t help but think of the evergreen holly significance to the Druids. Else-when, an eldritch ceremony of sacrifices might have shed blood the color of the holly berries!

I, midst my fellow hikers, looked out and saw the old face in the moon, its one eye sagged as if shot out and a wounded scar had long healed over it.

Moments passed and then came the treat – the final magic and proof that magick had blessed this night. Jupiter, king of the gods, in consort with his daughter-mistress, emerged just under the full moon. On he chased Diana’s skirt daring an incestuous tryst.

Our path at the end of the holly arbor intersected a big expanse of prairie grass – a huge field We walked through it, barely able to see, and then only with our peripheral vision.

Humans can see in daylight in color with their central array of cone cells. These are useless at night as any astronomer can tell you. Only the circumferential rod cells work at night, and they only detect black and gray vision.

The stalks of grass were well above my six foot height, and their clumpy roots clung and pulled at my feet as if to drag me to the ground and swallow me whole. All around we heard the hopping and slithering of mammals desperate to scurry out of our tromping path.

Then, suddenly, we opened into a clearing. This portion of the vast meadow had just been burned by the staff to let the prairie grass open up with new fecundity. The smell of charred death hung in the air, still filled with acrid wet smoke.

The dew point mists began to arise from the earlier rain and the moonlight glittered like some Hound of the Baskerville moorish landscape. Onward we dragged our feet through dampness and burned ruin. Where was this guide taking us?

Then I saw! Ahead, a cemetery loomed! The founder’s grave lay just ahead and above them a giant bronze statue held arms raised in prayer to the gods of light and darkness.

This metal woman was a shadowed Titan beneath the luminous Crow Moon and the bold chasing, twinkling Jupiter.

Breathless from the pace and the exertion of walking in the moonlight, we stopped by the graves, rested, and I said another silent prayer for my writing skills.

We all caught our breath at the grave site and said our parting goodbyes to one another. Then, in mesmerized awe, we each walked silently back to our cars in the moon slicked night.

The Testament of Cyprian the Mage, a two-volume work by Jake Stratton Kent (SCARLET IMPRINT Publication) Now in stock and shipping!

Posted in Miskatonic Books with tags , , , , , , , on February 28, 2014 by miskatonicbooks

We are happy to announce that we just received our copies of THE TESTAMENT OF CYPRIAN THE MAGE 2 volume set by Jake Stratton Kent (Starry Heaven Edition Limited Hardcover)

To get ordering information on this stunning title just click on any of the pictures below.

THE TESTAMENT OF CYPRIAN THE MAGE 2 volume set by Jake Stratton Kent (Starry Heaven Edition Limited Hardcover) Published by Scarlet Imprint

A pair of royal octavo books comprising 592pp bound in a lapis night sky cloth, spangled with stars, with dustjackets. Printed in black and red throughout on archival paper, and finished with embossed endpapers. Limited to only 800 copies. Book is in new condition.

The Testament of Cyprian the Mage, a two-volume work by Jake Stratton-Kent, comprehending The Book of Saint Cyprian and his Magical Elements and an elucidation of The Testament of Solomon.

The Testament of Cyprian the Mage is a two volume work of approximately 600 pages endowed with charts, tables, seals etc. and punctuated by specially commissioned pen and ink illustrations by Oliver Liebeskind. Lavishly bound and printed in red and black ink throughout, this is a work of enduring importance and a resource to accompany your ongoing study.

This is the final work in Stratton-Kent’s acclaimed Encyclopaedia Goetica series which began with The True Grimoire, a working reconstruction of the Grimorium Verum, and was followed by the monumental two volume Geosophia: The Argo of Magic which explored the necromantic Greek origins of Goetia.

The Testament of Cyprian the Mage is a fitting climax to this endeavour which has placed the author at the forefront of modern magic with a body of work that is both scholarly and aimed at practical application. All are standalone texts though benefit from being read as aspects of a single thesis: the importance of Goetia as the oldest continuous tradition of Western magic.

As Stratton-Kent affirms, ‘Goetic Magic … if properly understood would regenerate Western magic and underline its immense cultural significance, on a level equal to any spiritual tradition in the world.’

This understanding is clearly given in two volumes of lucid and fascinating exegesis with clear extracts from all the necessary works.

The Testament of Cyprian the Mage is an ambitious and far-seeing work, addressing two ends of the magical spectrum: the Testament of Solomon and a version of the Iberian Book of Saint Cyprian. In doing so, key aspects of magical practice are revealed.

This work draws upon these texts to create a clear understanding of the practice of grimoire magic, not as a discrete or degenerate subset of ceremonial magic, but one which is integrated with folk magic and witchcraft. In particular we discover a shared dramatis personae, the infernal pact, and a common terrain of Wild Hunt and Sabbat.

Within the text we encounter the Chiefs, Kings and Queens of the grimoire tradition; the magical role of the Decans and their stones and plants; lunar magic and magical animals; the gods of Time; the Sibyl and the Hygromanteia; Asmodeus and Oriens; Angelology, Theurgy, Conjunction and the Pact, the Angelic Vice-regent and thwarting Angels; Asclepius, Iamblichus and Neo-Platonism; Paracelsus and the Elemental Spirits; Necromancy, and the principles of spell work.

As Jake writes, ‘A primary purpose of this book is to explore the implicit mythology of grimoire spirits and the contexts from which it derives.’ It does far more. This is a fundamental revisioning of magic with profound implications for the magical revival which we are all engaged in.
Jake Stratton-Kent has been a goetic magician since 1972, making more than forty years of continuous goetic practice. His practical work integrates the magical papyri, italo-french grimoires in particular the Grimorium Verum and African traditional religions with a focus on Quimbanda and magia negra. His interest in magic spans the ancient, medieval, renaissance, and modern as well as stretching from the West to the Middle East and crucially, the New World. His scholarly approach is backed with a personal relationship with the spirits, which is rare to find in the modern world.

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