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Mandrake Speaks Newsletter
Edited by Mogg Morgan
No 205
Monthly info for friends of leading occult publisher and bookseller Mandrake of Oxford
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Contents
Fire Child, The Life and Magic of Maxine Sanders ‘Witch Queen’
by Maxine Sanders
An appreciative tribute for the release of Fire Child by Mogg
‘Maxine just told me that she can no longer remember what is in her book; and when she looks at the extract from the opening chapter of her book we’ve put on the Amazon site, she says ‘God, did I write that?’ So I say to her ‘Yeah, you did! So, it’s just as well that I can remember.'
I first met Maxine some years ago at a Pagan Federation Conference in London through my wife who was a past member of the"Temple of the Corn King". Maxine was a bit of a legendary presence although not then part of my own particular magical journey. Even so I have a treasured copy of her earlier book Maxine the Witch Queen. I particularly like the 1970s cover which I showed as part of a lecture on occult publishing at that conference.
These days I'm happy to self-identify as a Pagan because I think it covers a multitude of sins. Interestingly Maxine says that she is a witch and not a Pagan. Of course the rumour mill has it that Maxine has returned to the Catholic church, for Catholic Church, read 'Liberal Catholic' - one of many organisation that benefited from Maxine's support all the way through the heady days of the 'Witch Queen' and 'Witch King'. All this is documented in this spiffing new biography.
I enjoyed Maxine's earlier "biography", despite it being not quite my style of magic. Before that I'd been more drawn if anything to the Alex Sanders side of the equation. There is/was a kind of orthodoxy amongst the Pagan world, that it was all Alex's show really. Maxine was not seen important compared with the "Svengali" Alex. But was she really just a pawn in his hands?
When I met Maxine Alex was already dead. I knew that because I was offered some of his magical record to publish, nothing came of that apart from the odd death threat! So I definitely knew Alex was dead and I really didn't know what Maxine was doing.
Having read Maxine's earlier biography, I thought that her story could do with a new appraisal of her life and work. Occult books in the 1970s had to stick to certain conventions. There are things that they had to do which were important at the time. Thirty-five years or so later, things have moved on quite a bit and there is room for hindsight, re-appraisal, or for saying things that could not be said back then, and we all know what they are.
I don’t know how it came about but the task fell into my lap. It was a task I was very glad to be take on. My vision was that, yes, the stuff that was in the earlier biographies was great, but it needed more. It needed the missing bits reinstated. It would all benefit from some hindsight, wisdom and context.
Maxine is definitely a bit of a dark horse. Kym and I travelled to her wonderful hideaway in deepest Snowdonia, one of my very favourite parts of Wales. The story of how she fetched up on the slopes of mount Snowdon, is told in great, often heatbreaking detail in Fire Child. Her home is an occultist's dream; a substantial stone cottage full of books, in a magical Welsh landscape. In every corner one glimpses a piece of furniture once used in the rituals. Maxine's beautiful whippet, Bilbo, guards some stunning regalia, magical swords, lots of fascinating things really.
At the top of the hall sits a big chest full to the brim with photographs. I spent a whole very pleasurable afternoon going through every single one. Over a drink I asked how the new writing was going, "Have you actually written anything?"
Maxine replies with typical understatement "Oh well, I’ve written a little bit." When we got started, it all just flowed. Maxine turned out to be a natural writer. Maybe that was a potential she wasn’t aware of. If that's so then there's my role as publisher, which we might say is under the aegis of Hermes - the communicator. It’s magick too, setting people in motion. I acted as a sounding board, letting Maxine know how much I was enjoying what I read. That's the way I do it anyways - for me its all about whether I enjoy the story, if it moves me. If it does then I keep saying "I like that, , tell me more".
There are lots of fantastic, wonderful episodes in this book Fire Child. There are also some real heartbreakers. Some things only briefly sketched in the earlier books are finally resolved. What first struck me was the personal cost back then somebody such as Maxine paid for revealing what they believe. She entered the world of magick in her teens, back then in the 1960s it was risky to stick your head over the parapet.
The earlier books spoke some about the way the police and media hounded Maxine in particular after that first schlock horror headline in a local rag. In the new book Fire Child you learn things that the publisher of the earlier editions would not have wanted the author to say. They were cut because they were just too painful, just too real. People were just beginning to realise that the police could be real pigs, but just how bad they could be will horrify some I'm sure. All the more extraordinary that someone can come through something like that as strong and as committed as Maxine undoubtedly was/is.
As a publisher I don't really believe in censorship, my instinct has always been to put more in, not cut. I want witchcraft warts and all.
Towards the end of Fire Child there is another very moving passage where Maxine talks about the bitter sweet legacy of her relationship with Alex. She speaks candidly of how the work continued, even though she went through some deep personal traumas, and descending into darkness and personal hell, which included heavy drinking.
And just when you think it cannot get any worse, then it gets worse. The things that land on Maxine's plate could really drag a lesser person down. But all the way is Maxine's wonderful voice, through the good times and the bad.
You'll read the book and you think "Wow! What an incredible journey!" And that journey isn’t over!
Even though this book is about Maxine, it is of course also about Alex, and he comes through BIG! You get the whole story about Alex, from the sublime ... to the ridiculous. For example the point at which Alex confesses to Maxine about his homosexuality, something that she probably long guessed. When 'Paul' left the coven to marry he also left a long standing and secret relationship with Alex. As Nigel Bourne reminded us at the recent launch, Alex subsisted on a diet of chip butties. So there's Alex in turmoil, tears in his eyes, confessing to Maxine that his life is ruined and the final indignity "He’s even taken the chip pan with him!"
So we all have a lot of good jokes about Alex. Let’s not underestimated the power of humour and jokes. As Maxine tells you in Fire Child, Alex was a charlatan and a magus. In the old model, he was the Wise Man and the Fool. Both things really shine out from the book.
It is a real shame that Alex isn’t in the flesh to see this done. When you read Fire Child you see a different side to Alex, you really do. I think that if he had been alive, Alex would have been so very proud of the appearance of Fire Child. I had a few strange dreams about Alex while working on this book. So I suspect, wherever he is now he is going to be pretty happy about all this.
In Fire Child Maxine reveals some very painful truths. It is a controversial memoir; there is much here to provoke and make people talk. Maxine has squared the circle, coming through with a powerful sense of joy that Alex existed and that together they did the things that they did. So I am telling you, when you read this book, you are really going in for one hell of a trip.
*Fire Child : The life Magic of Maxine Sanders 'Witch Queen' (advance information) * * by Maxine Sanders * *Publication date: November 2007* *Format: Special Hardback Edition* *ISBN 978-1-869928-97-1* *Price: £19.99/US$40 * (Trade Paperback: 978-1-869928-780 £12.99)
*'This is one of the most important books ever published on modern paganism: a full and candid autobiography by one of its most influential, and charismatic figures.'
- Professor Ronald Hutton author of The Triumph of the Moon
One of the world's most influential and respected witches, Maxine first caught worldwide public attention while married to the celebrated - and controversial – ‘King of the Witches’, Alex Sanders. A highly respected Priestess of the Sacred Mysteries, in her role of teacher she has encouraged, enabled and inspired students of the Priesthood to take on the conscious mantle of their spiritual potential. In this long awaited autobiography Maxine reflects on her life and magical experiences spanning Modern Witchcraft, Wicca, Paganism, Gods and Goddesses, Seasonal rituals, Sabbats, Ceremonial magic, Kabbalah and The Sacred Magic of the Angels. This is a unique, poignant and often humorous memoir of an extraordinary life, by a rare, courageous and inspiring woman.
The Sanders were leading figures of the 1960s occult revival. The atmosphere of the era was vibrant with experimental creativity, and London the capital of the psychedelic music scene and fashion. Alex and Maxine were much sought after teachers of the Arts Magical, and initiated many spiritual aspirants into the Mysteries, when the Craft was still secretive and difficult to access for those seeking initiation. The Sanders popularised their own tradition widely known as Alexandrian witchcraft. Here many of the rumours regarding Alex and Maxine are either confirmed, verified and clarified, or denied; the real facts being far more interesting and humorous than those spread by jealous hearts or hearsay.
For thirty-five years, Maxine lived in Notting Hill Gate, London, where she was High Priestess of many training covens. Five years ago, she exchanged her life as a City witch for the remote Welsh countryside. Today, when she is not traveling or giving talks, Maxine practices the Art Magical and celebrates the Craft’s rituals in the mountains. Maxine practices her Magics alone; she has retired from the work of teaching, believing this is better performed by younger priesthood. Her vocation as a Priestess includes talking to audiences who wish to listen and counseling those who are in need of kindness, truth and hope.
www.maxinesanders.co.uk
Journal for the Academic Study of Magic: Issue 4
A multidisciplinary, peer-reviewed print publication, covering all areas of magic, witchcraft, paganism etc; all geographical regions and all historical periods.
JSM4 isbn 978-1869928-391, 400pp,£19.99
Contents
The Practitioner, The Priest, and The Professor: Perspectives on Self-Initiation in the American Neopagan Community : Laubach, Martinie’ and Clemons/
The Trinity of the Hebrew Goddess: A Guided Presentation Of Goddess Narratives and Submerged Beliefs : DeMente
The Topography of Magic in the Modern Western and Ancient Egyptian Minds : Stannish
The science of magic: A parapsychological model of psychic ability in the context of magical will : Luke
Is Magic Possible Within A Quantum Mechanical Framework? : Ash
Angels with Nanotech Wings: Magic, Medicine and Technology in The Neuromancer and Brain Plague : Lord
Rowling’s Devil: Ancient Archetype or Modern Manifestation? : Lauren Berman
Delivered From Enchantment”: Cotton Mather, W. B. O. Peabody, and the Struggle against Magic : Sederholm
In a Mirror, Darkly : A comparison between the Lovecraftian Mythos and African-Atlantic mystery religions : Geall
The Journey of The Lion King and the Collective Unconscious : Marsh
The Third Time’s the Charm”: Mythic Operative Magic in the Merseburger Zaubersprüche : Moynihan
The Old Irish Impotence Spell: The Dam Díli, Fergus, Fertility, and the Mythic Backround of an Irish Incantation : Bernhardt-House
Reading the Turkish Coffee Cup and Beyond: The Case of North Cyprus : Karimova
Reviews
Mandrake.uk.net Publishers
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Sybarite Among the Shadows (the original story)
Richard Mcneff's novel is reviewed on The Compulsive Reader website. Readers of Mandrake Speaks might like to read the original short story version of the novel which has an interesting history of its own. Richard's article 'The Beast and MI5' is soon to appear in Fortean Times.
BERLIN. The yellow stars daubed on shop windows in the Jewish Quarter, overshadowed by the monstrous towers the Nazis called architecture – totems of the thousand-year Reich. Such a millenarian atmosphere suited Crowley, fresh, if that is the word, from a reinvigorating interlude of sex magic with a woman half his age in Lisbon. Like a gratified parent, he still doted on the “German Crusade”, as he called it. In turn, the authorities tolerated his existence. Names he had been invoking for years were on the lips of high-ranking SS officers: Ahriman, Horus, and Moloch – many deities were abroad that year. Besides, his relationship with the Nazis stretched back to the early days of the Party’s formation. Yet they did not like the relationship to be too defined. Already theirs was a hidden doctrine, a sect of intrigue and the esoteric, of ritual and symbol, posing as the modern. A few years later, his eyes opened, the OTO suppressed in Germany, Crowley would describe them with contempt as the Black Brothers. Indeed, they were worshippers of the left hand, the perverted spirit – but in secret only. To the ostensible world, they presented themselves as the final cultists of the empirical. Crowley to them was something of a buffoon: an actor in a shadow play of rich widows and cocaine who shared their interests but not their intent. The Wanderer of the Waste was comfortable with this arrangement. He loved outrage and extravagance; while for them, purpose was enough. (More . . . )
The Goetia of Dr Rudd by Stephen Skinner David Rankine
isbn 978-0-9547639-2-3, £40 Golden Hoard
448pp, hardback includes full text of Lemegeton or Lesser Key of Solomon (Liber Malorum Spiritum seu Goetia, Theurgia Goetia, Ars Paulina (1&2) Ars Almadel)
Is there such a thing as a definitive edition of a grimoire? The authors of this spanking new edition certianly think so. The Goetia or Lemegeton to give it its full title, is a well known sorcerous book still widely available through Aleister Crowley's 1903 edition, which like several other of the master's works was re-badged from the manuscript provided by Samuel Liddel MacGregor Mathers of the Hermetic Order of the Golden Dawn. Skinner Rankine's justification for reprinting this new edition lies in the fact that the Crowley/Mathers edition is incomplete, contains editorial errors and is peppered with 'extraneous' material including some of Crowley's trade mark jokes. Crowley also added some additional ritual material such as the powerful Egyptian 'Headless Ritual' which is seen as anachronistic by some or a touch of magical genius; by others.
In their Goetia, Skinner & Rankine discuss the recent scholarly edition of The Lesser Key of Solomon edited by Joseph Peterson. They advance many coherent reasons as to why a further edition is useful. Controversially their edition is based on a manuscript actually rejected as defective by Peterson yet, so they argue, it possesses an internal coherence that has perhaps been overlooked. Viz: Dr Rudd's edition, warts and all, shows a system of magic as actually practiced by a working magician of the seventheenth century. In this respect, the edition of Dr Rudd has a lot in common with that of Crowley/Mathers. Dr Rudd also made his own additions to the text, additions that Stephen Skinner David Rankine this time welcome because they make the system more rational and to their minds safer. Rudd's brilliant addition was to add corresponding angelic seals for each of the demonic names, thus provided a technique by which one (the angels) could control the other (the demons).
Skiinner and Rankine's rather excellent introduction now addresses the putative history of the Grimoire, a topic which is in many ways more interesting than the grimoire itself (you might guess I'm not a grimoire man myself - one has to specialise afterall. Although I do have my own theories about the Goetia, but that can wait for another day.) As one might expect, details of the history of the Lemegeton gets murkier, the further back one looks. Ultimately, one is in the territory of myth and selective memory. I wonder if the editors had seen Lon Duquette's lively little book The Key to Solomon's Key (reviewed in MS) in which he addresses the historicity of King Solomon 'the Magician'. In 586bce the Hebrew elite of Jersualem were taken into captivity by the Babylonians and the 'Solomonic' temple destroyed. When this captivity ended the captives returned with a new name and some would say a new history and religion. Which means that all those post captivity stories of King Solomon cannot be taken at face value. King Solomon is a figure of myth who has so far remained invisible in the archaeological and historical record. So is the King Solomon who inspired the Lemegeton really a Hebrew mage or could he derive from Arabic or even Egyptian tradition? Afterall the Goetia itself says that the demons speak the Egyptian tongue?
Which brings me back to my opening question. I've yet to be convinced that the grimoires really deal with a world of facts; they seem to be much more connected to an imaginal world of magick. For all those magicians wanting to address this and other issues for themselves - you probably couldn't ask for a clearer and more complete guide than Stephen Skinner & David Rankine's excelllent new edition. [Mogg Morgan]
The Book of Mephisto- A Left Hand Path Grimoire of the Faustian Tradition,
Asenath Mason, Edition Roter Drache, 2006. 76 pages.
ISBN 3-939459-00-3
The Necronomicon Gnosis- A Practical Introduction,
Asenath Mason, Edition Roter Drache 2007. 184 pages.
ISBN 978-939456-05-7
Experienced occult practitioners understand that the Mysteries may be invoked under many identities, shifting forms and names from circumstance to circumstance. Thus it is that amongst the oldest traditions we often find elements of what might otherwise be called ‘post modern’ sorcery. For example, I remember during an adventure into the dark underbelly of London coming across a Voudon altar which had been erected to the Baron of the Cemetery - a genuine lwa of that tradition- represented by the image of Darth Vader (or perhaps that should be Daa’th Vader?). Much to the bafflement of the uninitiated, many of those practicing ‘traditional’ witchcraft often display a similar attitude towards the Mysteries of our own culture. We know that underneath all archetypes, be they from the pagan myth cycles or modern popular iconography, there lies the power of the ultimately unknowable, unnameable Mysteries of which even our traditional pantheons are ultimately the merest shadows.
Just as the Voudon cultists have identified their own lwa or ‘laws’ at different times with the saints of Catholicism, or the new myth cycles of popular culture such as the Star Wars films, so have we as witches in England. Hence it is also that the pagan gods found themselves re-identified as demonic forces in the various grimoires of cunning tradition. We know that neither interpretation of these Mysteries are strictly speaking the ‘ultimate truth’. We know also that the form beneath which the Mysteries are called may even be completely fictional, and like the rest of Western Magic in the modern day have even succumbed on occasions to applying the mythos of H. P. Lovecraft in our rites. Similarly, post-modern Chaos magicians have found that it has proved possible to work effective sorcery by invoking gods that did not exist five minutes ago, or even invoking characters from ‘Buffy the Vampire Slayer’ (although why you would want to do that is anybody’s guess). It is an attitude that is shared also by Asenath Mason, founder of Lodge Magan – Polish lodge of the Order Dragon Rouge, in the two books I have recently received from her.
In the ‘Book of Mephisto’, Asenath explores the goetic tradition through an exploration of the Faustus myth, specifically his making of a Pact with Mephistopheles, whom she identifies at various times with Ahriman, Samael, the Initiator, the Opposer, and the Jungian ‘Shadow’. She sees the Faustian Pact to be ultimately a misunderstood manifestation of the Great Work of the Left Hand Path, pointing out early on that in Marlowe’s play he does not evoke demons to satisfy petty desires, as many of the later editions of The Lesser Key promise to fulfil. He does not seek material benefit, or to have control over other humans. Rather, he sells his soul in exchange for knowledge, and for exploration of the outer and inner cosmos. In this sense he seeks illumination with the ultimate aim to become himself ‘as a god’, which as Mason points out is the definitive quest of the Left Hand Path magician. From this perspective she goes on to explore the tradition of the magical pact in sinister witchcraft, identifying Mephistopheles also as a face of the Black Man of the Sabbat. The work includes a number of ritual formulae that combine traditional and modern elements that might be employed by any aspiring magician or witch to commune and invoke this Mystery, whether in the guise of Mephistopheles or any of its other names.
In ‘Necronomicon Gnosis’ Asenath explores the employment of the Cthulhu mythos in practical modern Left Hand Path sorcery; not entirely unknown also amongst witches (being not too far a stretch of the imagination, since we commonly refer to the Mysteries as The Old Ones even when we are not being post-modern about it all), Chaos magicians, the Typhonian O.T.O., and not forgetting of course the Voudon traditions as they are transmitted through Michael Bertiaux’s O.T.O.A., nearly all of whom receive at least a passing mention. Although described as an introductory level work, there is also much here that may be of inspiration to the more experienced practitioner. Indeed, Asenath generally assumes an advanced knowledge in her readers, hoping perhaps as much to reach out to those who might be her equals (distressingly few I would imagine) as to inspire those whose journeys are only just beginning. Again, she employs this modern pantheon to explore mysteries that are in fact so ancient as to be ultimately unnameable. Along the way she offers us her always profound and occasionally alarming insights into such traditional magical practices as astral travel, the Sabbat, dream incubation, shape-shifting, necromancy, sexual communion, invocation, evocation, the creation of though-forms, and other elements that fit well into the Cthulhoid mould of working. That the pantheon is fictitious means very little, since it resonates with the deeper mind that knows no bounds to ‘truth’ or ‘fantasy’; the dreaming mind of the sorcerer.
Logic might tell us that offering sacrifices and pacts to gods that do not actually exist will bring no fruit, yet experience tells us otherwise. Similarly, just because a subjective magical belief yields objective results, this does not necessitate the objectivity of that belief. This, besides the human mind’s incapability of seeing the whole ‘truth’ at any one time, is something that we can be very thankful for. Again there are enough inspiring rituals to keep any cultist happy. These are much more your ecstatic rituals of sex and blood than the usual dry old recycled ceremonial material one has got so used to reading but never getting around to doing these days. You cannot go wrong with the odd frenzied rite here and there..
I am reminded also of a telling of a Buckinghamshire coven that, wrapped up in the usual inter-coven magical warfare over the five mile ruling or some such nonsense, attempted to evoke the Lovecraftian entity known as Azazoth, the ‘Blind Idiot God’, to direct its destructive capabilities towards their perceived ‘enemies’. As if such a being is likely to concern itself with petty squabbles about poaching each other’s coven members… As Asenath points out in the ‘Necronomicon Gnosis’, summoning entities like this to manifestation is never wise move under any circumstances. True to form, this coven failed entirely to direct the chaotic forces of Azazoth in the directions they intended, and within six months all those involved in the ritual were either in an asylum, dead after a freak accident, or had committed suicide. Which, personally, is the kind of magical f**k up we could all learn from observing. Thank the Old Ones that other people are out there to make mistakes like that for us, so that we do not have to.
Both works display profound insight into the Mysteries, as does her breathtaking ‘fantasy’ artwork which adorns their pages. I am always suspicious of so called Left Hand Path magicians that display no particular talent, such as the ability to paint inspiring images to write evocative prose (this is supposed to be the Dark Art after all) and it is obvious that Asenath Mason must surely be an accomplished sorceress to produce the quality of work that she does. I expect that her lodge will prosper and grow through her inspiration and guidance. It should matter little if your own approach is purely ‘Traditional’, or whether you are open to employing elements from fantasy as new ‘masques’ for the ancient Mysteries, there will most likely be much to inspire you within these pages. Highly recommended indeed.
So mote it be,
Nathaniel J. Harris
(Skratte)
For further details of these and other books published by Edition Roter Drache visit their web page at http://roterdrache.org
For information on the Order Dragon Rouge, visit http://www.dragonrouge.net
To see Asenath Mason’s accomplished dark fantasy artwork, and to find links to various esoteric articles by her, visit http://www.asaenath.deviantart.com
Lectures
Details of location below
Date |
Speaker & Topic |
|
| 12 December | Crowley's 'Adept of Adepts': Evan Morgan, Eccentric Occultist Extraordinaire Paul Busby 12th December (Wednesday) 7.15 for 7.30pm start £5 Tonight Paul Busby, biographer, introduces us to an almost-unknown occultist and eccentric, Evan Frederic Morgan, 2nd Viscount Tredegar (1893–1949). A friend of Aleister Crowley’s, Morgan was (as Busby has discovered) actually a practitioner of the art magical. Crowley himself called him “Adept of Adepts”. Morgan was known in his own day not so much for his occultism but, in aristocratic society, for his extravagant lifestyle. Tonight’s speaker has written his biography and tonight reveals his findings, and gives a greater insight into the life in the 1930s of the work of Aleister Crowley, as well as allowing an appreciation of the nexus of ideas and personal links that made up the 1930s British occult community. Background bits: www.redflame93.com/Tredegar.html |
Treadwells |
Venues & Organisers:
Bath Omphalos |
Bath Omphalos The Omphalos Magickal Moot meets on the second Sunday of every month, downstairs in the Hobgoblin pub, St.James Parade, Bath, Somerset, and welcomes Website: http://www.omphalos.org.uk/ |
London Earth Mysteries Circle |
London Earth Mysteries Circle 7.00pm Tuesdays (2nd 4th in month) |
| London Secret Chiefs |
SECRET CHIEFS 8pm - at the Devereux Public House, 20 Devereux Court, off Essex Street, Strand, London WC2, near Temple Underground. |
MWNN |
THE MOOT WITH NO NAME |
R.I.L.K.O |
R.I.L.K.O - Research Into Lost Knowledge Organisation |
| Treadwells Bookshop |
Treadwells Bookshop Full descriptions of all events are to be found now on website http:www.treadwells-london.com |
Groups Meetups
Harrogate Magical Moot |
A magical lore group, adhering to the study and research of esoteric and occult ideas and cosmologies, with the foundation of leading to ritual praxis. Practitioners from all paths welcome. Monthly meetings with talks followed by discussion. |
'Oxford Talking Stick Pub Moot' |
Meets every Thursday at The Angel Greyhound Pub (St Clements st) Oxford. |
Conferences & Exhibitions
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