H.P. Lovecraft and the Black Magickal Tradition – John L. Steadman

h.p. lovecraft black magickal tradition - john lH.P. Lovecraft and the Black Magickal Tradition – John L. Steadman
Weiser – 2015

H.P. Lovecraft was a horror writer who did not believe in the supernatural. Despite his clear declarations of the contrary, some people believe that Lovecraft’s horrors were real. This book examines both the beliefs of those people and the beliefs of other occultists that have some similarities to the ideas in Lovecraft’s fiction.

Let’s start with the first group, the nutjobs that believed that Lovecraft was psychic. Both Simon and Kenneth Grant believed that Lovecraft had channeled his horrors from another dimension. I’ve talked plenty of shit about those lads before, so let’s just say that Grant was mental and full of crap, and “Simon” is a con-artist. Steadman, the author of this book, spends paragraphs defending the legitimacy of the Simon Necronomicon, but in a note at the end of the book he concedes that Simon might just be Peter Levenda. Also, Steadman, while discussing Simon’s work, refers to Michael Baigent as “a reputable scholar”. When I was reviewing Dead Names, the book in which Simon referenced Baigent, I called him out for referencing a bullshit artist. Dead Names might best be described as a work of pseudo-non-fiction though, so a reference to a bullshit artist doesn’t really make it any less enjoyable. Steadman’s book, however, is presented as an academic work. How could any person hoping to be taken seriously refer to the author of Holy Blood, Holy Grail as “a reputable scholar”? Come on.

lovecraftian occultistsThe authors of these occult texts were clearly influenced by Lovecraft. It’s a pity they’re all garbage.

There are also chapters in here on Chaos Magicians and LaVey’s Church of Satan. Like Simon and Grant, these lads deliberately brought Lovecraftian elements into their belief systems, and although I wasn’t hugely interested in the precise ways in which they did so (I’ve already read lots of the original literature being summarized here.), I can’t complain about their inclusion in this book.  This stuff on the Lovecraftian occultists was fine. The chapters on Wicca and voodoo were not.

Wicca and voodoo have nothing to do with Lovecraft, but Steadman spends chapters trying to show how these belief systems are similar to some of Lovecraft’s ideas. There is no reason to believe, nor has anyone ever suggested, that Lovecraft was responsible for the foundation of Wicca or Voodoo, and I thought that the purpose of these chapters was to show how Lovecraft’s ideas resembled parts of these foreign belief systems in an attempt to suggest that he was psychically in tune with their practitioners and/or spirits. However, in the conclusion to the book, Steadman claims, “I have shown that Lovecraft has had an indirect, though clearly definable, influence on current Vodou and Wiccan practices.” That’s not what I got out of what he has written at all. In saying that, I have to admit that I found it extremely difficult to pay attention to these boring, lame chapters.

Steadman goes into quite a lot of detail on the beliefs and practices of wiccans, voodoo practitioners, members of the Typhonian O.T.O., and Satanists. I’m so sick of reading this kind of rubbish that I found myself skimming large passages of it. I suppose it’s my fault for choosing to read another book on the occult.

lovecraft collectionsI’ve been meaning to go back over Lovecraft’s own work for a while. It has been about 10 years since I last read some of these stories. I’m going to use the Wordsworth editions next.

H.P. Lovecraft and the Black Magickal Tradition is not a good book; it’s actually quite unpleasant to read. It’s the literary equivalent of Nickelback writing an album about a Morbid Angel song. The academic presentation combined with the author’s willful naivety is infuriating. There was a part in here where Steadman tries to make it seem that it’s common knowledge that the Knights Templar were Satanists. If he’s trying to get away with rubbish like that, who knows what other falsehoods he has slipped in here. I’d be a bit meaner, but this book is only a few years old and the author has an internet presence, so he might see this review. John L. Steadman, if you’re reading this, I’m sorry, but your book is handicapped.

 

The Spear of Destiny – Trevor Ravenscroft

spear of destiny ravenscroftThe Spear of Destiny – Trevor Ravenscroft
Weiser Books – 1997 (First published 1973)

I’m going to have to summarize this one before I comment about it.

In the late 50s, the author of this book, Trevor Ravenscroft, met a lad, Walter Johannes Stein, who had spent years researching the Holy Grail and the Spear of Destiny. Stein was going to write a book about the stuff he had learned, but he was dying, so he gave all of his information to Ravenscroft so that he could write the book instead. The Spear of Destiny, or the Spear of Longinus, is the spear that pierced Christ’s side when he was on the cross.

One morning, when he was a young man, Stein woke up and started reciting entire paragraphs of Wolfram von Eschenbach’s Parzival, one of the seminal Holy Grail texts. Fascinated by his strange new ability, he decided to buy a copy of Parzival, presumably to compare with the passages he was reciting. Well, the copy he bought had some interesting notes in it. He tracked down its previous owner through his bookseller. The previous owner was Hitler. Hitler and Stein became friends (kinda). Together, they went to a museum in Austria to see a spearhead that some had claimed was from the Spear of Longinus.

When they were standing in front of the spearhead, Hitler started to glow and Stein realised that his friend was being possessed by Satan.

You see, Hitler was interested in the grail and spear because he thought they could provide him with access to the Akashic records. The Akashic records, for those of you who don’t know, are the imaginary library of memories of every human experience ever experienced by anyone. Hitler wanted access to these records for the purposes of gaining power, but he didn’t want to spend a lifetime of meditation to get there so he took a bunch of hallucinogenics in a black magic ritual to speed up the process. Unfortunately, while tripping on peyote, Hitler became possessed by the Devil. The Devil is actually one of the negative powers that came into being after some of the species that lived on the lost city of Atlantis evolved from stretchy mutants into Aryans.

Oh, and Heinrich Himmler was a zombie.

Ok, so Ravenscroft goes into a lot more detail than that, and I’ve left out all of the stuff about psychic time-travellers, but the above is a pretty fair summary of this book.

There are many, many issues that a student of history might take with Ravenscroft’s account, but there are two facts that are especially worth considering.

  1. The Hofburg Spear, the actual, physical spear that the events in book revolve around, is definitely not the Spear of Longinus.

The Hofburg Spear is of medival origin. It didn’t exist until hundreds of years after the death of Christ. This single fact obliterates nearly all of Ravenscroft’s claims.

  1. Ravenscroft never actually met Walter Johannes Stein, the supposed source for nearly all of his information.

Ravenscroft starts his book off telling his reader that Walter Johannes Stein, his good friend, deserves most of the credit for writing this book. The first chapter of this book describes, in detail, the pair’s first meeting. A few years after this book was published, Ravenscroft admitted that he never met Stein in person. He said that he had only ever been able to talk to his spirit through a medium.

When you take away the subject and the source, there’s really nothing left. It’s hard to find a footing for any meaningful criticism of this book. It’s too stupid a book to bother pointing out where it’s factually inaccurate. Ravenscroft is clearly attempting to be a part of the fantastic realism movement started by Pauwels and Bergier, but his book is one step stupider than the stuff they put out. While they encouraged speculation, Ravenscroft just tells lies. In Arktos, Joscelyn Godwin describes The Spear of Destiny as “the ultimate degradation” of the Frenchmen’s work and “blood-curdling work of historical reinvention”. A fair assessment.

Some have claimed that this book was originally meant to be a novel but that Ravenscroft’s publisher convinced him to write it as non-fiction so that it would sell more copies. I’ve no idea if that’s true or not. The book is so inflated with shockingly boring details that have little relevance to the story that it’s hard to imagine how it would have turned out as a novel. The story here is rather anti-climactic too, so I’d hope that Ravenscroft would have come up with something better for a work of fiction.

As a work of non-fiction, this is seriously one of the worst books I have ever read. I know I say that kind of thing more often than other people, but this really was a turd. The Spear of Destiny was written in an era when it was considerably more difficult for people to fact check an author’s claims, but much of the stuff that Ravenscroft tries to get away with is so clearly rubbish that I can’t imagine anyone being able to believe this shit. This book makes Holy Blood, Holy Grail seem like a serious academic study written to impeccable standards. Batshit crazy books can be entertaining, but this one wasn’t. It was tortuous.

The Spear of Destiny is a surprisingly popular book (my copy is from the 9th printing!), and you’ll find plenty of other articles online that do a better job of discussing its specific inaccuracies. I liked this one, in which the author worries about how to write about this book “in a way that was not plain sneering.” I hold myself to no such standards, so here is a picture I made of Jesus and Hitler spit-roasting Ravenscroft:

jesus hitler

Meeting the Other Crowd – Eddie Lenihan

meeting the other crowd - eddie lenihanMeeting the Other Crowd, The Fairy Stories of Hidden Ireland – Eddie Lenihan
Gill and Macmillan – 2003

I first encountered the author of this book in a Tg4 documentary about Alice Kyteler, the witch of Kilkenny. Just looking at him, you can tell that the man is a legend. There are loads of videos of him telling stories online, and you’d be better off watching them than reading this review. About 3 years ago, I was visiting Ireland and somehow ended up in the Freemason’s Hall in Dublin. I got chatting to one of the lads there about books on Irish folklore, and he recommended this. I bought it the next day.

The astute reader will have noticed a decline in the amount of non-fiction being reviewed on this blog recently. This is largely due to my developing revulsion towards occultism. I don’t know whether it’s having a kid, a job and less time or if it’s just that I’ve come to know what to expect from new-age imbeciles, but I simply don’t have the patience to wade through the sort of rubbish that I used to review. Standing in front of my bookshelf, trying to choose between an outdated book about aliens and a pamphlet about magic beans, I cast my eyes to the ground in despair. It was on its way to the ground that my line of sight crossed the copy of Meeting the Other Crowd on my bottom shelf, wedged in between books on the Holy Grail and serpent worship. Yes, this book would work. The topic is occult in every sense of the word and from what I had seen of the author, I knew it would be interesting

Fairies though. Isn’t that a bit lame?

Let’s make this very clear. The fairies of Ireland are not the pleasant, wingèd creatures, fluttering about and turning little girls into princesses that some might expect. Fairies are wrathful, violent, and manipulative entities that live in a shadow world, emerging to kidnap children and seek violent retribution for any actions they have perceived as wrongs against them. They’re not objectively bad or evil, but they are certainly the kind of things that are best avoided.

This book is a collection of stories that Eddie Lenihan collected over what seems to have been several decades. He traveled around Ireland, recording old people telling the fairy stories that they had heard throughout their lives. The tales have been transcribed fairly precisely, and they retain a flow of speech that makes it easy to imagine the voice of the teller as you’re reading their words. While all of the stories are followed with a brief commentary by Lenihan, I would have liked a little more information about the story tellers and when they were recorded.

The other issue here is the consistency of the different stories. Some of these accounts are absolutely fascinating, but some are little over a page long and present only minor variations to other stories in the collection. I suppose this was probably inevitable given the nature of the book though, and I’d prefer for these shorter stories to be included than omitted.

Unlike the authors of much of the occult material that I have reviewed on here, the tellers of these tales had, as far as I can tell, an honest conviction in the stories they were telling. These people weren’t out to proselytize or to make a buck. They were telling stories that they had been asked to tell. That in itself makes it much easier to both enjoy the stories as stories and to consider them as something more than imaginary.

A skeptic might claim that these accounts are the attempts of uneducated, rural people to rationalize the traumatic events in their lives (infant deaths, thefts, abductions) but that interpretation doesn’t do these stories justice. Whether or not the events in these tales occurred precisely as they are described has no bearing on their beauty and cultural worth. While I’m not entirely convinced about the objective existence of fairies, I don’t think I’d ever enter a Fairy Fort, just to be safe.

I’d recommend this book for anyone with an interest in folklore and/or malevolent shadow people. I’m looking forward to reading more of Lenihan’s books in the future.

It’s a Long Way to the Top…

…and this book isn’t even halfway there.

shock rock - jeff gelbShock Rock – Edited by Jeff Gelb
Pocket Books – 1992

Shock Rock is a collection of horror stories about rock music. I love horror stories and rock music, so this book seemed very appealing to me. Unfortunately, out of the twenty stories in here, maybe four are interesting and only two of these are really good.

The longest story by far, and probably the book’s biggest draw, is Stephen King’s You Know They’ve Got a Hell of a Band. I read this in Nightmares and Dreamscapes when I was a kid and again a few years ago. I didn’t bother reading it a third time. It’s basically a second rate version of Children of the Corn but with dead rock stars instead of creepy children.

The only two stories in here that I really liked were Richard Christian Matheson’s Groupies and Thomas Tessier’s Addicted to Love, neither of which feature any supernatural elements. And while I did quite enjoy reading Tessier’s story, it’s a blatant rip off of American Psycho. (Tessier’s copyright is from 1992, Bret Easton Ellis’s novel had been published in 1991.)

The rest of the stories aren’t absolutely horrible to read, but they were mostly pretty forgettable and fairly similar. They are nice and short though (they’re more like music videos than films in their scope), so this book made good reading for my commute to work.

I reckon it’s fairly difficult to overestimate the power of music; it changes the ways in which people think and act. It’s is a very elusive force though. A song that brings a person to tears might have no effect on that same individual at a different time. Also, unlike a painting, which exists as a physical object, music isn’t something you can point a finger at. Trying to use text to describe the way that music sounds is absolutely futile, but without its sound music can have no effect. Novels or short stories about music can never really deliver what they seem to promise. I suppose that the only way around this would have been to have put out an accompanying soundtrack with the book.

I actually think a book of short stories with a prescribed musical soundtrack could be really cool, but I don’t think this would would have saved Shock Rock. There’s a pretty wide range of stories in here, covering several genres of rock music, and the musical accompaniment for the collection would be too discordant and jumbled to be enjoyable.

And maybe I’m just an annoying jerk, but my complaint about Michael Slade’s Ghoul can be applied here too. The music discussed in this book is largely inappropriate for the subject matter. Why would anyone write a horror story about Jimi Hendrix or Bob Dylan? Neither wrote scary music, and neither of these stories’ plots actually rely on their featured rockstar; the authors could have replaced Jimi with Jim and Dylan with Kristofferson with minimal effort. The editor of the book, Jeff Gelb, thanks the following bands, singers for their inspiration: The Beach Boys, Jimi Hendrix, Janis Joplin, Led Zeppelin, Genesis, Tangerine Dream, Vangelis, Kate Bush and AC/DC. While those bands (or at least most of them) are cool, I probably wouldn’t include any of them on the soundtrack to a horror film.

I suppose that the line between commercial appeal and a worthwhile product is a tricky one to walk. A book of stories about a living Glenn Danzig fighting off werewolves in an attempt to track down a copy of a cursed, unreleased Morbid Angel demo might not have had the same appeal as Shock Rock, but I guarantee it would have been a better book.

I’m discouraged, but not defeated. My search for the perfect blend of horror and rock’n’roll continues. Coming soon:
horror rock novels

Henry James was a Dry Shite

turn screw aspern james henryThe Aspern Papers and Turn of the Screw – Henry James
Penguin – 1984

I first read Turn of the Screw five years ago. I remember it taking a far longer time to get through than I had expected. While it’s only a novella, the text is remarkably dense, and I frequently needed to reread paragraphs to understand what they meant. I have worked as a teacher/tutor for many years, and rereading Turn of the Screw felt like an exercise in professional development for me; it allowed me to feel the confusion that a student goes through when they are confronted with text that is above their reading level. By the time I got around to rereading the book, I had mostly forgotten what happens in the story, so it was just as difficult the second time around.

Many, if not most, reviews of Turn of the Screw remark on the frustrating complexity of James’ sentence structures, and I have read several reviews that claim that the complicated text adds to the story’s atmosphere of claustrophobia and confusion. It’s an interesting technique, but I didn’t enjoy it. The story here is grand, but the writing ruins it.

Also included in this book is The Aspern Papers, another novella by James. This one is about a man trying to get at some papers that are in an old lady’s closet. It has no supernatural element to it, but I enjoyed it more than Turn of the Screw.

ghost stories henry james
Ghost Stories of Henry James
Wordsworth – Supposedly published in 2001

Last time I was home, I went to one of my favourite book shops and bought a bunch of books from the Wordsworth Tales of Mystery and the Supernatural series. I had picked 5 out, but if you bought them in groups of 3, they were cheaper. This collection by James was the only one that I didn’t already have and I had forgotten how unpleasant reading him was, so I threw it in.

These stories are generally fairly crappy. The Ghostly Rental was probably the only one I actually enjoyed. The Romance of Certain Old Clothes was readable, but much like the exceedingly boring Owen Wingrave, the ghost bit only happens on the very last page. The Private Life and the Jolly Corner are based on interesting ideas, but they’re not spooky stories. The Third Person is one of the most boring, shitty, pooey-bum-bum stories I have ever read. This collection also contains Turn of the Screw.

These aren’t ghost stories for people who like ghost stories. They are stories that feature ghosts for people who like imagining that they’re clever and smelling their own farts. I really, really hope that I never have to read anything by Henry James ever again.

M.R. James > Henry James x 1000.

Ghoul – Michael Slade

ghoul michael sladeGhoul – Michael Slade
Signet – 1989 (Originally published 1987)

I bought this book at a library booksale last year because it had a spooky name and it only cost 25 cents. I don’t think I have ever made such a fortunate purchase.

After a prologue which describes a gang of teenage boys burying their friend alive while listening to Black Sabbath and talking about H.P. Lovecraft, I put the book down and took a deep breath. A novel about teenage mischief, heavy metal, and classic horror? This had to be awesome.

I read a few chapters more. After some remarkably graphic violence, the narrative moves to a rock club in Vancouver that is “Situated on the main floor of a rundown skid row building” with “no sign to mark its presence for those not in the know”. Now, most of my readers won’t know this, but aside from reading and reviewing spooky books, my other main hobby is attending and playing concerts in unmarked, rundown buildings on Vancouver’s skid row.

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At this point, I wondered how a text, written by another person, could be so specifically relevant to my interests. I first considered if the author had stalked me and then gone on to write a book tailored to my tastes. I was only one year old when the book was written though, so this seemed unlikely. No, this book was not written for me to read. I was born to read this book.

The rest of the novel is a fast paced thriller about a collection of insane, depraved murderers, at least two of whom play in a Lovecraft themed rock band named Ghoul. The horror here is of the bloodthirsty, slimy, two-headed freak locked in a cage variety. I’d be afraid to call anything splatterpunk because I’m not really sure what that means, but this book defines itself as such, and the label seems quite fitting. It has guitars, mohawks and a lot of blood and guts. I’ve read books that describe horrendous acts of violence before, but don’t think I’ve read anything quite as grossout gory as this. One scene describes a man disemboweling another individual, cutting a hole in his skull, debraining him, and then proceeding to fill the victim’s cranial cavity with his own internal organs. Cool.

Just because a book is about cool things doesn’t mean it’s going to be a good read. Ghoul, however, is a mighty enjoyable novel. It’s extremely well researched and plotted out. The authors are a pair of lawyers who specialise in the criminally insane. They are also clearly fans of classic horror. One wouldn’t have to be a horror buff to enjoy this novel, but I was glad to be able to understand the bits about Lovecraft’s stories. The only aspect of the book that I felt the authors could have researched more thoroughly was rock and roll stuff.

First off, Ghoul’s music and how it sounds isn’t very important to the book at all. Whether it’s punk rock, goth rock, heavy metal or some other genre of cacophony is unclear. I’m going to refer to it as heavy metal based on other bands that are mentioned in the book.

Iron Maiden, Alice Cooper, Motley Crue, Twisted Sister, Black Sabbath, Grim Reaper and AC/DC are Ghoul‘s musical influences. Aside from Grim Reaper, these bands are all household names. Heavy metal fans might listen to all of these groups, but within any underground metal scene, it’s standard practice to champion lesser-known bands. Bands who play in the venues that Ghoul play in and who act like Ghoul usually make a point of letting people know how esoteric their tastes in music are. I know this book was written more than 30 years ago, but even at that stage Venom and Mercyful Fate had put out several albums each and been brought to the attention of the public by the PMRC, the Misfits and Grave 45 had put out a bunch of horror themed punk records, Metallica had recorded and released several songs about Lovecraftian entities, and Death and Black metal were starting to take off. Instead of researching and referencing this stuff, the authors chose to go backstage at a Motley Crue concert for their insight into rock’n’roll. The novel was presumably written to appeal to lots of people and referencing bigger bands might make it more accessible to the masses, but seeing that the authors worked pretty hard to make the detective stuff believable, I thought they should have put a bit more effort into the rock’n’roll side of things. The version of rock that they present is the imaginary rock of which evangelical parents are afraid.

At one point, they refer to Highway to Hell as a Grim Reaper song. Grim Reaper have lots of songs with Hell in the title, and I wouldn’t hold it against anyone for getting them mixed up, but confusing Grim Reaper and AC/DC is a sin against rock.

That being said, some of the trends in heavy metal that these authors imagined soon became reality. It was only a few years after the publication of Ghoul that the shit hit the fan in Norway’s Black Metal scene and heavy metal band members started murdering people and burning buildings down. Also, Lovecraft’s mythos has become an extremely popular topic for death metal bands to write songs and albums about. Most prophetic of all though, would be the authors’ idea of a band called Ghoul that put on elaborate stage shows and sing about death and violence.

Ghoul (the real ones) are a metal band from Oakland that have been together since 2001. Like the Ghoul of the novel, this band also have a hyper-violent horror theme going on. I can’t say for certain how deliberate their choice of name was, but I can’t help but presume that at least one of the members has read the book. Their song lyrics are about sewer dwelling maniacs (Sewer Chewer), axe murders (Maniaxe, Bury the Hatchet), catacombs, crypts, graveyards (Into the Catacombs, Forbidden Crypts, Graveyard Mosh) and torturing freaks (Mutant Mutilator). These are all important motifs in the book. The band even have an album (and song) called Splattertrash. A few years ago, I actually saw the real Ghoul playing a show in a rundown building on Vancouver’s skid row, almost exactly like the Ghoul in the novel.

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Written in the era of Video Nasties and the PMRC, Ghoul’s stance on rock music and horror is a bit confusing. One would think that the authors of an extremely gory, horror novel would do what they could to defend their creation, but the text seems to imply the potential culpability of both horror and rock. Not only are the dangers of reading horror fiction and attending rock concerts discussed at length and demonstrated by the characters, but a list of actual rock’n’roll-related acts of violence is given at the end of the book. Were the authors just trying to give their novel an extra edge by making it seem dangerous, or did they actually write it in an attempt to encourage violent acts? The latter option might seem ridiculous, but remember that the authors were both criminal lawyers. By encouraging acts of violence, they’d be setting themselves up to get more work.

I have never been so pleasantly surprised by a book. Ghoul is an awesome, awesome book, and I recommend that you read it immediately.

Black Easter – James Blish

black easter - james blishBlack Easter – James Blish
Equinox/Avon Books – 1977 (First published 1968)

This is definitely one of the better novels about black magic that I have read. The particular nature of this story renders it difficult to discuss without giving away some fairly crucial plot details, so if you’re like me and like to know as little as possible about a book before reading it, maybe you should come back to this review after reading the book itself. If you were hoping that this review would help you decide whether or not to read the book, know that I loved it. If you have any interest in the other books that I’ve reviewed on here, you’ll probably enjoy this one.

Spoilers start here:

The plot of this novel could be charted with a single ascending line. There is no falling action, denouement or resolution; it ends with the climax, and a rather climactic climax it is too. I like when books are gutsy enough to have brutal endings (unless they’re love stories), and finishing off with the ultimate victory of evil over good as brutal as it gets. I was expecting the priest to do something to thwart Baines and Ware, but I was delighted that he didn’t.

The ending was both shocking and abrupt, and for the first time that I can remember, I wanted to reread a book as soon as I had finished it. There is a sequel though, The Day after Judgement, so I’m going to wait till I get my hands on that before I reread Black Easter. To be honest, I was so happy with the ending that I am a bit worried that the second part of the story will ruin the first. I don’t want the characters to get a chance to fix things.

The final revelation of Black Easter, the claim that God is dead, is particularly chilling given the nature and timing of his death. He has died at a time when Earth is infested with demons, demons that have hitherto been under the guidance of ceremonial magicians using the dead God’s names as their instrument of control. By creating this scenario, Blish calls into question the inherent conflict of ceremonial magic as noted by A.E. Waite. Black magicians using grimoires such as the Lesser Key of Solomon and the Grand Grimoire, both of which are alluded to in Black Easter, need to ask God for his help in controlling the demons they conjure. Why would a loving God help an individual who was intent on massive acts of terror, and, in this case, why would an all knowing God accommodate his own destruction? Could it be that God is so upset with his creations that he wants to die? There’s a depressing thought.

While Black Easter and The Day after Judgement make up one larger work, that combined work (sometimes called The Devil’s Day) makes up a single part of Blish’s After Such Knowledge trilogy. The other books in this thematic trilogy are A Case of Conscience and Doctor Mirablis. I have a copy of Doctor Mirablis on my shelf, and I’m planning on picking up the other two books soon. It’s been quite a while since I finished a book and wanted to read more from the same author.

Part of the appeal of Blish’s writing, and I’ve already alluded to this, is his attention to accuracy. While this is a fantasy novel, much of its content comes from real grimoires. Blish addresses this in a note at the beginning of his book; he states,  “All of the books mentioned in the text actually exist; there are no “Necronomicons” or other such invented works”. Despite this, he later quotes from The Book of the Sayings of Tsiang Samdup, a fabled tome, similar to the Necronomicon in that the first references to it appeared in works of fiction, two novels Talbot Mundy. (This wasn’t the only time that elements of Mundy’s work managed to will themselves out of the confines of fiction.) On top of all this, there are those who say that Theron Ware, the central character of Black Easter, is based on Aleister Crowley. Ware certainly resembles the kind of person I’d imagine Crowley to have been, but I had read of this comparison before reading the novel, so I can’t be sure how much of the similarity was legitimate and how much of it was projected by my expectations.

Like I said, I’m planning to read the sequel, so I’ll doubtlessly come back to this book. In the meantime, make sure you eat loads of chocolate for the celebration of Christ’s resurrection.