So before I did my Foucault’s Pendulum review, I decided to take a look over some of the sources for the magical traditions that clash by the end of the novel, which is kind of why there’s been a trickle of occult content on the blog for a bit; having first read the novel knowing very little about the stuff it was riffing on, I wanted to see how it read to someone who actually knew the territory (it’s just as good).
Here’s a leftover from that research project. Crowley’s attempt to produce an all-encompassing manual of magic – published previously in several separate parts including Magick In Theory and Practice and The Equinox of the Gods – boldly proclaims that it intends to be a guide to magic which is accessible to everyone, and then spends most of its page count mired in technicalities, presenting various arguments trying to insist on the authenticity of The Book of the Law, and giving a somewhat confusing rundown of ceremonial magical procedure, with brief sections at the beginning giving a somewhat more coherent rundown of the basic practices of meditation and an idealised version of magical practice which seems to be entirely logistically unattainable for most practitioners.
The magical information in here is largely the Golden Dawn material, plus Crowley’s fixation on The Book of the Law and some other concepts added by Crowley, and it is perhaps more interesting as a worked example of how an actual practitioner might use and further develop the Golden Dawn system than a system in its own right.
It’s not Crowley’s fault that the book is a bit of a mess, since it had a long and frequently disrupted writing process and several aspects of it were dictated to Crowley by, he thought, spirits talking through his personal mediums, right down to the questionable decision to call a book for beginners “Book 4”. (There are numerological reasons for doing so, but it’s still confusing.)
Current editions have a biographical essay from the current head of the OTO, William Breeze, discussing how Crowley produced the book. It is notable how Breeze shines a light on Crowley’s use of a succession of “Scarlet Women” as mediums, a rather exploitative-sounding process which led to a trail of human wreckage in Crowley’s wake. If trampling down others in this fashion was the price of producing this book, I am not altogether sure it was worth it.