miércoles, 6 de junio de 2012

Many terrible and conflicting things

Many terrible and conflicting things

The Death of Abdul Alhazred According to Ibn Khallikan


By Luis G. Abbadie


 “Like all true poets, Abdul Alhazred was consumed by the invisible monster of yet unwritten poetry, which, craving to be fleshed out, ultimately claims that of its chosen scribe”.
–Justin Geoffrey, Wandering Memories

The single most influential biographical piece about the poet and heretical mystic Abdul Alhazred (Sana’a, c.670–Damascus, 738 AD), author of the Kitab Al Azif or Necronomicon, has arguably been the brief entry included by Shams al-Dīn Abū Al-ʿAbbās Aḥmad Ibn Muḥammad Ibn Khallikan (1211–1282) in the first draft of his extraordinary work, The Obituaries of Eminent Men and History of the Sons of the Epoch (Wafayāt al-aʿyān wa-anbāʾ abnāʾ az-zamān), compiled between 1256 and 1274. The scroll written and distributed among his peers by Ibn Khallikan in 1264 contains said entry. All copies of the book released after 1274 were expurgated, Alhazred’s entry omitted (along with others such as Ibn Shacabao, Abdul Bàez Ibn al Saqr al Aswad, and Abdul Yasar ibn al Yamani), and most of Ibn Khallikan’s works were burned shortly after his death in October, 1282. (1) This is why some researchers have vainly sought mention of Alhazred in Ibn Khallikan’s work and, finding nothing, have doubted that he ever included Alhazred among the many personalities he researched. (2) As pointed out by Dr. Henry Armitage:

“The earliest of his biographers was Ibn Khallikan, in the twelfth century, but he gives only rumors and conjectures for most of Alhazred's life. Most other sources seem to be derived from Ibn Khallikan's text.” (3)
 Long believed to be lost, the oft-quoted biographical note by Ibn Khallikan about Abdul Alhazred, author of the Necronomicon, has finally become available for researchers and students of the life and works of this singular eighth-century poet. Dr. Henry Armitage found an unexpurgated copy of the first volume of Ibn Khallikan’s The Obituaries of Eminent Men, at the Cairo Museum, as is well known by those who have read his authoritative monograph A Brief Biography of Abdul Alhazred (4) (published in 2004 as a Miskatonic University Press chapbook, with additional notes by Laurence J. Cornford). However, the fragile condition of said copy caused it to be very difficult to consult or reproduce. Fortunately, a second copy has been located by Dr. Venustiano Carranza, former professor of Paleo-Semitic Philology and Oriental Antiquities of the Universidad Autónoma of Mexico, at the Vatican Library; he has translated it from the Arabic and, in 1999, presented a copy for the archives of the Universidad Valencia of Montecruz (Montecruz, Jalisco, Mexico), and it is thanks to him that we have now procured a full copy of the account of Alhazred’s life which shaped the popular conceptions –and misconceptions- of the general public until modern times, due to the widespread and context-less paraphrasing of a few portions of this piece.

While it lacks several details contained in Theodorus Philetas’ biography of Alhazred, appended to his translation of the Necronomicon, which Ibn Khallikan probably omitted for the sake of his age’s moral standards, he also draws from varied, then-extant sources and allows us to complete a fuller picture of the life and times of Abdul Alhazred, particularly when studied in contrast with the various biographical works, both ancient and modern, currently available. (5)
Whenever Ibn Khallikan’s biographical note on Alhazred is quoted or mentioned, most of the time it is as reference to the best-known legend concerning Alhazred’s death, as a victim to some supernatural creature. This is due to the fact that nearly all such quotes are in actuality second-hand references, (6) based on H.P. Lovecraft’s brief citation of Ibn Khallikan in his “History of the Necronomicon (An Outline)”. (7) I found it curious that among the few actual direct quotes from the text, these are more often than not from the famous death episode. (8) Upon reading the actual text, the reasons became obvious: Ibn Khallikan dedicated an unusually lengthy portion to discussing in detail various sources concerning Alhazred’s death. This legend was presumably the matter of much debate among scholars in Ibn Khallikan’s day, and he must have intended to settle the matter somewhat.

We now disclose this long-lost document here as a monographic issue of the Journal of Pseudobibliography (9) thanks to the collaboration of Professor Eduardo Báez Escorza, director of the “Antonio Hernán” library of Montecruz.
Luis G. Abbadie
Montecruz, Jalisco, June 6, 2012

 Ibn Khallikan, Vol. 1, p. 6-10 of the unexpurgated manuscript; translated by Dr. Venustiano Carranza Betancourt for the Seminary of Pseudobibliography of the Universidad Valencia of Montecruz, February 1999

ABDUL ALHAZRED

Of the youth of the poet Abdul Alhazred, scarce is known, yet it is said that in his many travails, he knew early slavery, (10) even though the beauty of his voice and of his written words brought him to know praise and wealth, being known at some point by the appellative of Master of Songs, thanks to his much-celebrated works, "The Song of My Heart" and "Poems To The Prince". (11)

Abdul Alhazred flourished as a poet in Sanaá during the Ommiade Caliphate, circa 738 AD, and for his darkly toned qasidahs he was widely renowned. Still, his success was small compared to the greater fame and wealth of Dhu Al-Rummah who, it was rumored, dipped his quill in sinister ink to write with such majesty. Alhazred became consumed with jealousy and bitterness. To become more famous… to become the greater poet… The obsession drove him to reach for ever deeper truths and to immerse himself in the forbidden teachings. He set out to find what the Sanaá could not offer. Traveling far and wide, he summoned dark knowledge among the ruins of Nebuchadnezzar’s Babylon and the subterranean necropolis of Memphis. (12) He swore that he visited the fabulous Irem, the djinn-built City of Pillars, and even claimed to have found proof of a race older than mankind.
After early apprenticeship under the Saracen mystic Yakoob Ishak, (13) Alhazred is said to have walked most of the known world at one time or another. Exiled to the desert of the Khaliyeh by the ruler of Yemen after being horribly tortured, (14) he spent seven years in a nameless city buried in the desert, (15) making several mysterious pilgrimages to these and other ancient and shunned places. Ten years did he spend wandering through the desert, overcome my madness; for surely all of these boasts are but marks of Alhazred’s madness, by which he was overtaken as years passed, (16) his literary genius woefully lost to morbidity and delirium, as he wrote of things which had little or no place for the teachings of the Prophet, since Alhazred, indifferent to the Muslim faith he grew with, worshipped instead unknown gods whom he called Yog-Sothoth and Cthulhu. Alhazred’s final years were wasted writing about devils or djinns called Great Old Ones who, according to him, had raised cities before the rise of the tribes of ‘Ad and Thamood, and the sons of Adam; (17) and these Old Ones now dwelt in places not of the world, awaiting the time when they would rise anew. One such city was the one Alhazred swore to have found buried in the sands, having read therein the records of times before man. Of this nameless city, and what he found therein, Alhazred declared to have dreamed (18) the night when he composed his cryptic couplet:

That is not dead which may eternal lie,
And with strange Aeons even death may die.

His travels took him also to Punt, Chaldea, and Alexandria, wherein he sought ever to further his knowledge of unwholesome lore and science. He is also said to have made a forbidden black pilgrimage to the accursed city of Chorazin. In his last years, he lived an anonymous life in Damascus, where he dropped from public view altogether. Forgotten was his rivalry with Dhu Al-Rummah; vanished were his beautiful poems. In their place, he had begun a new work with a new ambition: the Al Azif or Necronomicon. The author’s intention: to release the Great Old Ones upon the earthly plane – but to bind them by his grim will.
Of his final death or disappearance many terrible and conflicting things are told. And of his Necronomicon, only rumors remain. (19) From various scattered accounts, and discarding contradictory details, it may be gathered that Abdul Alhazred was seized in broad daylight by an invisible monster, and rent horribly apart in front of a large number of terror-frozen witnesses. (20)
Indeed, out of the varying accounts of his death, there remain two narrations which are claimed to have been penned by living witnesses thereof. The first such testimony, an incomplete letter signed by an Ismail of Damascus which was found in Alexandria, swears that the mad poet was seized by the claws of a Beast whose face and flesh could not be seen, in the high light of the Seventh Sun Before the Bells. He was butchered over the Yellow Market of the Qafila al-Bedouin (Caravan of the Bedouins). There in the seventh light, the great Lord of Songs was devoured bodily, and his thrashing limbs were seen to be torn apart in the very air, and swallowed by a Nothingness. Indeed as the sky-held fragments of the Second and Sacred (Alhazred) gushed with gouts of blood, the blood itself gave shape to the Beast around him, filling the air with veins. Two hundred and more are the men who beheld this. So sayeth the fragment of the Alexandrian scroll before me. (21)
The second testimony, preserved by a family from Damascus, offers further detail concerning his loathsome death, narrating how Alhazred was clawed at the door of his house in Damascus by an invisible monster whose terrible howl was all that could be heard. The monster tore him with its claws and sank its teeth upon his neck sucking all of his blood. Then it cut off his head from his neck, leaving the mangled body on the street. The head was later found with his eyes bulging out of their orbits, and his ripped tongue at a place which people avoid. At length there was talk concerning this death and many things were told about what Abdul had prophesied about his own end and how he feared that it would occur. (22)
Alhazred’s book, the Kitab Al Azif, was rendered unto Greek by the scholar Theodorus Philetas, under the title by which it is better known and loathed, Necronomicon.  It was banned and condemned by the Caliphs, after which one Abdul Yasar (23) fled unto Al Andalus (Spain) with the manuscript, and later by the Patriarch of Constantinople, but some copies are said to remain sheltered away at the homes of men disdainful of human and holy laws.

 Notes
(1) Professor Kent David Kelly: Necronomicon: The Cthulhu Revelations. Wonderland Imprint, 2012 (Kindle edition)
(2) “Extant versions (Ibn Khallikan updated the work several times) do not seem to include an entry for Abdul Alhazred, either under that name, or any recognizable variant.” Dan Clore, “A Necronomicon Glossary” (online document)
(3) Dr. Henry Armitage in A Brief Biography of Abdul Alhazred p. 5 (Miskatonic University Press, Arkham, 2004; with additional notes by Laurence J. Cornford).
(4) H. Armitage, op. cit.
(5) Those by Theodorus Philetas, Dr. H. Armitage, Al Burux of Jativa’s Els Que Vigilen (c.1425), the (probably apocryphal yet impossible to discard) Narratives contained in Book One of the Necronomicon, and accounts generally thought of as spurious such as Ibn Nussaq’l’s alleged “Al Azif Epilogue”, El Rashi’s “The Life of the Master” and the pseudo-epigraphical “The Saga of Abdul Alhazred” (found in later copies of the Necronomicon as part of the book itself), as well as the modern novelized biography authored by Donald Tyson; see Bibliography for detailed references.
(6) In spite of the overabundance of quotes and misquotes in literature concerning Alhazred, Ibn Khallikan’s work has only been quoted directly having consulted the actual text a handful of times: by H.P. Lovecraft, in his “History of the Necronomicon” (see note 7); by Dr. Henry Armitage, in “A Brief Biography of Abdul Alhazred (Nightscapes Nº 4, 1997; Miskatonic University Press, 2004); by Pietro Pizzari in his introductory materials to Necronomicon: Magia Nera in un Manoscritto della Biblioteca Vaticana (Atanor, Rome, 1993); by Dr. Venustiano Carranza in Necronomicon: Nuova Edizione con Sconvolgenti Rivelazioni e le Tavolette di Kutu (Fanucci, Rome, 1994); and by Mac Carter and Tony Salmons in their biographical work The Strange Adventures of H.P. Lovecraft (Image, 2009). To all of them we acknowledge our debt for dispelling the myths concerning this valuable text.
(7) Originally published by Wilson H. Shepherd, under the title “History and Chronology of the Necronomicon”, The Rebel Press, Oakman, AL, 1938.
(8) We find such quotes in the works of Pietro Pizzari, Kent Kelly, and Venustiano Carranza; Mac Carter and Tony Salmons make a more lengthy quote, but still present a graphic version of the death episode.  
(9) Journal of Pseudobibliography Vol. III, Nº 5, June 2012, issued by UVAM Ediciones, official imprint of the Universidad Valencia of Montecruz (UVAM). This digital copy is being published simultaneously with permission from Dr. Mark L. Abbott, director of the Journal, in consideration of the value of Ibn Khallikan’s piece for worldwide researchers of Pseudobibliography, Paramythology, Alhazredic Daemonology, Necronomy and related disciplines.
(10) Professor Kelly mentions that Ibn Khallikan “implies enslavement” (Kent D. Kelly, op. cit., Notes to Scroll III), while Pietro Pizzari, op. cit., interprets certain passages of the Necronomicon as allusive to Alhazred’s ship bound to Constantinople sinking and Alhazred himself being rescued on the shore, and sold as a slave to the man who will become his teacher (not Yakoob or Yaqub, but his second, unnamed, master who accompanied him in one of his visits to the Nameless City and may have been, in this author’s opinion, the sahir Ibn Shacabao).
(11) cf. H. Armitage, op. cit.
(12) This paragraph, until this point, is quoted by Mac Carter and Tony Salmons in The Strange Adventures of H.P. Lovecraft (Image, 2009),  p. 1-2.
(13) Called Yakthoob in Dr. John Dee’s Necronomicon (translation by Lin Carter, see PRICE, Robert M. (ed.): Necronomicon: Selected Stories and Essays Concerning the Blasphemous Tome of the Mad Arab (Chaosium, Oakland, CA, 2002) p. 197; his name is also spelt Yakoob, according to Alfred Ward (cf. Armitage, Op.cit.) and sometimes Yaqub or Yakoob Ishak. Sometimes mistaken for tenth Century mystic Ya'kub Ibn Ishak Ibn-Sabbah al-Kindi (d. CE 850) whom professor Stanislaus Hinterstoisser –see Colin Wilson, “Introduction” in the John Hay (ed.) Necronomicon– also mistakenly believed to be the Kitab Al Azif’s actual author. However, Yaqub or Yaktoob, Alhazred’s teacher, lived at least one full century before Al-Kindi.
(14) This is detailed by Theodorus Philetas in his “Concerning the Life of Abdul Alhazred”, which has been translated  (from Olaus Wormius the Elder’s Latin version) by Donald Tyson in Necronomicon: The Wanderings of Alhazred (Llewellyn, St. Paul MN, 2005). Tyson also expanded this episode in his novel Alhazred (Llewellyn, St. Paul MN, 2006).
(15) While other sources state that Alhazred spent seven years wandering in the desert, Dr. Armitage attributes said seven year period to a misinterpretation on behalf of Ibn Khallikan’s translator: “The problem arises because Alhazred speaks of spending seven years in the city and ten years in the desert. The translator did not realise that the two dates were running concurrently, and so he moved the first date to the earlier visit”. (H. Armitage, op. cit., Footnote 9)
(16) Dr. Armitage refers to this opinion of Ibn Khallikan’s in H. Armitage, op. cit.
(17) Quoted from “Alhazred’s final years” on by Pierre Menard within his short story “Las Ruinas Trapezoédricas”, in Obras Completas, Zaragoza, 1963, p. 174.
(18) This is mentioned by H.P. Lovecraft in his short story “The Nameless City”, written in 1921, one of several indications that Lovecraft was directly familiar with a copy of Ibn Khallikan’s work, and not quoting second-hand in his “History of the Necronomicon”.
(19) From “In his last years…” to this point, this is quoted by Mac Carter and Tony Salmons, op. cit., p. 3-4.
(20) From “was seized” on, this paragraph is quoted by Dr. Venustiano Carranza in Venustiano Carranza; Sergio Basile; Giampiero de Vero & Zahir Shah: Necronomicon: Nuova Edizione con Sconvolgenti Rivelazioni e le Tavolette di Kutu (Fanucci, Rome, 1994), p.49.A near-literal paraphrase is found in H.P. Lovecraft, op. cit.
(21) From “was seized by the claws” on, this paragraph is quoted by professor K.D. Kelly, op. cit., in the essay “Masks of Madness: The Secret History of the Necronomicon”.
(22) From “was clawed at the door” on, this paragraph is quoted –presumably from the very manuscript found in the Vatican Library which we have now translated– by Pietro Pizzari, in Necronomicon: Magia Nera in un Manoscritto della Biblioteca Vaticana (Atanor, Rome, 1993), p. 22.
(23) Abdul Yasar ibn al Yamani, also known by the Hispanicized form of his name, Abdelésar, was one of Alhazred’s most noteworthy disciples; when he left for Moorish Spain, he claimed to be his former master Abdul Alhazred in the flesh, and to possess the key to longevity. He appears to have authored a distorted copy of Al Azif in which he reinterpreted the Alhazredic lore as concealing the ancient Egyptian religion under different names. Hisstory is detailed by Rafael Llopis in El Novísimo Algazife o Libro de las Postrimerías  (Hiperión, Madrid, 1980).  

Bibliography
ARMITAGE, Henry: A Brief Biography of Abdul Alhazred (Originally published in Nightscapes ezine Nº 4, 1997; Miskatonic University Press, 2004. With additional notes by Laurence J. Cornford).
CARRANZA, Venustiano; BASILE, Sergio; DE VERO, Giampiero & SHAH, Zahir: Necronomicon: Nuova Edizione con Sconvolgenti Rivelazioni e le Tavolette di Kutu (Fanucci, Rome, 1994)
CARTER, Mac & SALMONS, Tony: The Strange Adventures of H.P. Lovecraft (Image, 2009)
CLORE, Dan: “A Necronomicon Glossary”, in The Dan Clore Necronomicon Page
CULP, Robert C.: “Al Azif Epilogue” Esoteric Order of Dagon Amateur Press association (August) 1975
KELLY, Kent David: Necronomicon: The Cthulhu Revelations. Wonderland Imprints, 2012 (Kindle edition).
LLOPIS, Rafael: El Novísimo Algazife o Libro de las Postrimerías (Hiperión, Madrid, 1980).
MENARD, Pierre: Obras completas. Zaragoza, 1963, edition under care of Adolfo Bioy Casares.
PIZZARI, Pietro: Necronomicon: Magia Nera in un Manoscritto della Biblioteca Vaticana (Atanor, Rome, 1993)
PRICE, Robert M. (ed.): Necronomicon: Selected Stories and Essays Concerning the Blasphemous Tome of the Mad Arab (Chaosium, Oakland, CA, 2002) Containing:
-CARTER, Lin: “The Necronomicon: The Dee Translation”
-LARKIN, Stephen T.: “The Saga of Abdul Alhazred”
-LOVECRAFT. H.P.: “History of the Necronomicon (An Outline)”
-ST. ALBANS, David T.: “The Life of the Master”
TYSON, Donald: Alhazred (Llewellyn, St. Paul MN, 2006)
            -Necronomicon: The Wanderings of Alhazred (Llewellyn, St. Paul MN, 2005)
WILSON, Colin: “Introduction”, in HAY, George (ed.) Necronomicon: The Book of Dead Names (consulted for this work in the Spanish translation for Mundo Desconocido magazine, Extra Nº 2, Apr. 981).

Many terrible and conflicting things: The Death of Abdul Alhazred According to Ibn Khallikan” Copyright © 2012 Luis G. Abbadie

sábado, 1 de mayo de 2010

The Devil's Prayer Book

Elizabeth Ann St. George, author or editor of The Necronomicon or the Book of Shades (see previous entry), also authored The Devil’s Prayer Book (Rigel, 1974, recently re-issued by Corvus –the same imprint as St. George’s Necronomicon- as The Rites of Shadow and this time, it seems, credited to St. George), which is apparently a non-entirely-accurate version of one of the several existing versions of the Gardnerian Liber Umbrarum or Book of Shadows, published by somebody who merely signed as “a Witch”; I suppose this is how parts of said book originally became known by the general public. I find it curious that St. George published the Book of Shadows anonymously and (I’m told, since I didn’t check that part when I briefly had the book in my hands) filled with overdramatic statements about how her life was endangered because the coven she stole it from would seek revenge (which is hilarious and insulting at once when we realize that she means a Wica coven, since, on one hand, they’d very likely have hexed her good and proper, but on the other hand would not have sent evil assassins on her trail as the book seems to suggest), when in later years she was a Wiccan teacher and high priestess, much loved by her students. The book, which I must admit I haven’t read in full but only skimmed through at one oportunity, appears to cast a few sinister overtones upon the entire Gardnerian trappings, but I can’t shake off the feeling that she wrote tongue-in-cheek.

It’s worth mentioning that St. George’s version of the Gardnerian BOS, including her adapted versions of the inner-circle names of the Lord and Lady, became the foundation of a lot of Wiccan recensions in Spain, something owed largely, I suspect, to Spanish best-selling occult writer, astrologer, and occult pop star Felix Llauge, known as “el Mago Felix” (Magus Felix, or perhaps Magician Felix, both thanslations apply). His books, which reflect his habits of using any magical system or method that crosses his path and jumbling it all together, actually contain some good stuff in the middle of the weird mix, and the Wiccan material usually comes from St. George’s book. I might be wrong in my assessment of Felix’s influence, but given his status as a loud mediatic celebrity, and prolific author,it seems quite likely that it was he that caused materials from The Devil’s Prayer Book to spread so much among Spanish magicians and New Age enthusiasts.

In regards to the names of the deities of the Wica, I noticed that MacMorrighan posted at Chas S. Clifton’s blog:

“the so-called ‘secret’ Gardnerian names for the God and the Goddess, which have been previously published, but almost NO ONE knows this-- they merely accept it at face-value, I think, that it's still an alledged Gardnerian ‘secret’. Anyway, according to my informants, who were both initially trained in Traditional Gardnerian Covens, Their so-called ‘true names’ were published in a few articles from the *very* early 70s in British Pagan magazines, as well as one book, which offers a very early look at Wiccan ritual: ‘The Devil's Prayer Book,’ recently re-published as ‘Rites of Shadow’. This is an absolutely lovely book!”

I found this curious since said names, widely published by Felix Llauge in Spanish-speaking countries, were said by a Wiccan initiate to be actually inaccurate, with the order of the syllables altered if I remember right. This occurred at the community Sendero Pagano back when it was hosted in MSN (I believe it still holds archived copies of old debates). While the reader would probably recognize the name of the person who told us this, I’ve seen some of his flamers at work so I’ll omit his identity to keep things cooler. What I find intriguing is that while he considered the names as modified, MacMorrighan’s informants appear to acknowledge them as accurate. Not such a big deal, of course; I suppose that, if the names are truly accurate, some branches of Gardnerianism changed them in order to mantain secrecy of their inner workings, or maybe the names were changed by some outbranching groups in order to have a distinct praxis from their colleagues.

St. George’s ominous presentation of the Wiccan BOS is doubly strange when we consider that she presents her Necronomicon light-heartedly and mocking its sinister fame, even saying that Al Rashid’s ghost might accuse Lovecraft of character defamation!

I am intrigued by this. Maybe she merely needed an encore after revealing “the secret rites of witches” and finding “the” Necronomicon was just the right thing? Why and how did she publish this? Her autobiographical book, from what Daniel Harms describes of it in The Necronomicon Files, presents her as a ceremonial magician, yet in later years whe was widely known as a Wiccan; how does this fit the publication of the BOS? Also, did she confide anything to anybody concerning the origins of The Book of Shades? So many questions...

I find myself hoping that somebody who knew the late Elizabeth Ann St. George (she died in April 2008) will read this at some point and shed light on the matter?

lunes, 26 de abril de 2010

E. A. St. George's Necronomicon

I’m sure I read somewhere that somebody commented on how Neo-Pagans had largely remained outside the entire phenomenon of Necronomicon editions, magick, and falsifications, until fairly late in the game. This is hardly so, of course; even the most widespread version of the Necronomicon, the Simon edition, was born at that beehive of Neo-Pagan activity, the Warlock Shoppe/Magickal Childe bookstore in New York, run by the Wiccan writer Herman Slater, who was of course directly involved in the book’s publication. However, that particular instance has been discussed to death and then some by Daniel Harms & John W. Gonce (The Necronomicon Files) on the debunking end, by Simon (Dead Names) himself as the foremost defender of the book’s authenticity, and endless articles, individuals, groups, online forums, etc., over the last decade.

Right now I’m thinking about the other versions of the Necronomicon presented by prominent Neo-Pagans. Now there’s an unexplored field of pointless bickeri- er, I mean, of enlightening debate!

Let’s take one such book; The Necronomicon or The Book of Shades, edited by E. A. St. George. This is a fairly intriguing book in several ways.

Harms’ and Gonce’s The Necronomicon Files have precious little to say abouth this edition (just like they do about any non-Simon version of the Necronomicon, of course). Daniel briefly speaks of Elizabeth Ann Saint George’s loosely-autobiographical Casebook of a Working Occultist, mentioning how she grew up in the West Indies, traveled much, and later started a psychic investigation firm, Spook Enterprises, beyond which “this book ranges from a serious account of her initiation into a Western mystery school to tales of chasing KGB agents with her family and friends, their dogs, and an archangel.” Daniel adds, cautiously: “Though I am hesitant to make such judgments, I believe that much of it was written in fun.” Very likely, I'd say, since she apparently has a lot of fun with her publications, as we'll soon see. Apparently, since daniel refers to her as a ceremonial magician of some sort, this autobiography does not mention that Saint George was also a Wiccan high priestess and teacher; I'd heard about her several times before I realized this was the same "St. George" of Necronomicon fame.

Daniel does commit a small mistake in quoting St. George’s brief introduction; he says, “the author comments that the work is also known as ‘The Book of Shades’” but St. George actually states that the book is titled The Book of Shades, and it is her who assumes that this book is the actual Necronomicon, a title St. George evidently attributed to it. An easy misreading, I guess, unless the text of the introductory note differs somehow between the original edition (by St. George’s Spook Enterprises, 1983) consulted by Daniel and the currently-available Corvus Books edition (2006) currently in my possession.

According to St. George, she fount the book in 1964 at the library of the deceased husband of a peruvian lady, Madam Ruzo, who translated it for her (it’s tantalizing to wonder whether there is any connection to the Peruvian occult writer and politician Daniel Ruzo; could this book come from his library?).

The Book of Shades is “the Book of Power of al Rashid of Sothis, whose sorceries have brought him renown in the eyes of men”, a devout muslim as well as a magician. No other biographical information is available in the brief work (actually a slim 26-page chapbook) but that doesn’t stop St. George from speculating freely about his life, education, and experiences.

Daniel points out that The Book of Shades “is unusual among Necronomicons in that it attempts to portray Alhazred as someone who knows of Islam” –very true! We do not find, for example, a single display of actual Arabic culture, folklore, or language in the writings of the Mad Arab in Simon’s Necronomicon. Donald Tyson’s Necronomicon: The Wanderings of Alhazred does display a lot of hard work documenting the book, but I did find it somewhat annoying that Tyson’s Alhazred was very learned in Qabbalah and Hebrew traditions but there was next to none mention of actual Arabic concepts other than ghouls (which were presented in Lovecraftian rather than Arabic fashion anyways). Still, St. George’s book doesn’t exactly try to portray Alhazred in any way whatsoever – St. George actually says that Alhazred was a misrepresentation of Al-Rashid! She further states that in its original Arabic form, the book was a long poem. Which it should if Alhazred/Al-Rashid was a sah’ir or poet!

Daniel further comments that “the book is too short to truly fulfill its intention.” Actually, that’s only true if we assume that its intention was to present a book that stands in as what we all expect when our mind conjures up the name “Necronomicon” –but I wonder whether that was the case.

I actually find it likely that this little book is no hoax perpetrated by St. George, but that she genuinely found it at Mrs. Ruzo’s home and was eager to publish it. The only reason to tag the book with the title Necronomicon is that at some point this little spellbook quotes a line that sounds suspiciously like Alhazred’s couplet “That is not dead which can eternal lie/And with the strange Aeons even death may die.” The Book of Shades actually says, “Thou shalt conjure the dead, using the names of their evil gods. They shall come forth, for they are not dead, but lie eternal, unto the time when death is vanquished. And they will come forth when thou callest them by their gods.”

Now, the book is translated from an Arabic manuscript; however, I wonder whether it was an ancient manuscript or actually a modern manuscript purporting to be a trannscription of an older work. What if it was the late Mr. Ruzo who authored the whole thing, and St. George merely trusted his widow’s word on the matter? It might also be an actual ancient grimoire in which Mr. Ruzo found a phrase that sounded a bit like the famous couplet and he conveniently tweaked it around (although the unlikely name Al Rashid of Sothis seems like a red flag; why would any Arab magician use Sothis, the Egyptian/Coptic name for the star Sirius, as his name or as the name of his homeland? Robert Temple’s book The Sirius Mystery had popularized the name “Sothis” in 1975. Just sayin’.

At any rate, how did St. George even know this was “the Necronomicon” if the book was in Arabic, and the only clue was a brief paragraph in the middle of the text? Presumably. Madam Ruzo said as much, maybe remembering what her husband used to say, or perhaps there were notes written in Spanish that mentioned either that the book was the Necronomicon, or quoting the text similar to the couplet and remarking on the similarity. St. George is all too brief on the matter. Of course, it could also be a piece made by her in good fun.

However, this was not Elizabeth Ann St. George's first forage into the troublesome activity of publishing "forbidden" books. But concerning her publication of a large portion of a Gardnerian Liber Umbrarum or Book of Shadows I'll speak at length in another post...

lunes, 8 de febrero de 2010

Sadowsky's Couplet Re-Translated

Many of us have been fascinated by William Hamblin’s famous article Further Notes on the Necronomicon about Phileus P. Sadowsky’s etymological research on the Al Azif; Hamblin’s notes concerning the possible roots of various eldritch names, such as Cthulhu being compared to the Arabic Kadhulu, have even proven a source of inspiration for authors such as Simon (in Dead Names: The Dark History of the Necronomicon) , Parker Ryan (in his famous The Necronomicon Info Source), and Warlock Asylum.

Well, far be it from me to cast a shade of doubt upon the late, illustrious professor Sadowsky, whose very existence was conceived in order to uphold the noblest interests of devout Chaosium Call of Cthulhu RPG rulebook users, but I confess, I recently submitted Sadowsky’s Arab rendering


La mayyitan ma qadirun yatabaqa sarmadhi
Fa itha yaji ash-shuthath qad yantahi


to Zizo, a native Arab who happens to be an online acquaintance of my ex-wife (well, OK, I pestered her about it for a couple of weeks), and here are the results.

I hoped Zizo would be open minded enough, since he is an artist himself; still, he was quite appalled by these weird verses, and when we showed him the equivalent translation,

That is not dead which can eternal lie,
And with strange Aeons even death may die.


Well, his reaction made it obvious that he was not acquainted hith Lovecraft, to say the least!

At any rate, ignoring the English version, he rendered the Arabic text, as it was, in Spanish for us, and it was my turn to be astonished when he wrote:

ما ميتا ما قارد يتبقي
سر مدي فانا يجي الشذاذ الموت
What is dead Gard remains the secret
of how I am the death of Luigi

This was very strange, to say the least. Mi first impression was, “Luigi? Italian for “Luis”? Is he doing a wordplay on my name? But he never even knew my name!” Then I noticed the word Gard and was even more confused. I know there are lots of eclectic neo-Wiccans who want my hide, but how come Alhazred predicted my death at the hands of a dead Gardnerian???

Zizo assured us that this was a correct rendering. When questioned concerning the word “Gard”, he explained what was clearly a word he didn’t find a Spanish cognate for:

“It’s like saying, ‘I love life and adore people,’ ‘don’t worry, except for life’”

That would mean, an approximate rendering of the couplet of the Mad arab would be something like

ما ميتا ما قارد يتبقي
سر مدي فانا يجي الشذاذ الموت
What is dead with a careless love for life remains the secret
of how I am the death of Luigi

Zizo refused to translate anything else; that was when he pressed my ex-wife until she explained that this translation was for me and why I wanted it, and he kindly directed me to Google Translator for any further queries.

Evidently, professor Sadowsky transcribed the wrong couplet from the fragment of Al Azif he worked from. Your guess is as good as mine as to just who would this “Luigi” be, but finding an Italian name in the Arabic text kind of makes me wonder if Pietro Pizzari wasn’t so far off-base when he postulated that the Mad Arab was actually an Italian seaman who was captured by Arabs and then sold as a slave to an Arab necromancer! On the other hand, this strange word, “Gard,” is clearly an Arabic cognate of the well-known mantram, “Hakuna Matata” – which of course means that singing merkaats and warthogs must be a sure sign that the stars are coming right for Cthulhu’s awakening.

Just in case, I’ll make a point of saying “Klaatu Barada Nikto” if I'm ever approached by a dead Gardnerian.

sábado, 6 de febrero de 2010

Starting off

I always knew that I’d return to my old role as chronicler of the Necronomicon, something I did nonstop for several years. From 1992 to 1999, I compiled a lengthy bibliography and history of the forbidden book; a history which encompassed fictions, facts, legends... I wrote a couple of pieces with information for Daniel Harms and he posted them at his old website The Necronomicon Files... -damn, I was going to add the link but it seems the domain is gone. Maybe Xastur ate it or something. Check Daniel's and John's book The Necronomicon Files instead-. I compiled my findings until that point in my chapbook El Necronomicon: Un Comentario (La otra Orilla, 2000, Mexico), which crammed (and I mean crammed) in 54 small pages, constituted an exhaustive expansion upon H.P. Lovecraft’s brief essay History of the Necronomicon, which left nothing out, with three appendices: one dedicated to Dr. John Dee and the various versions of the Necronomicon attributed to him –most notoriously, Liber Loagaeth, Grimorium Imperium and Lin Carter’s Dee Necronomicon– , another for the Simon recension, or Simonomicon, and finally one for a purported copy of Alhazred’s work rumored to have been found here in Guadalajara, Mexico (much as some people refuse to believe it, I did not author the quaint article I reproduced in said third appendix -which somebody reproduced here).

My work on the subject did not end there; it continued for several years, albeit growing sparse. A difficult situation which I had been facing for years came to a head, and with it came what I can only describe as a stroke of Fate, and I underwent profound changes, both in circumstances and as a human being. I left my ever-expanding chronicle aside (I kept compiling information but rarely worked on it), I left an important translation unfinished (another great regret), I stopped mantaining valuable contact with several people... but in the middle of it all, well, how shall I put it? Let us say that I was led to encounter Umr at-Tawil; that I went down seven steps and came back up; it wasn't really in a Necronomicon context, but what I mean is, what I experienced amounts to a rough equivalent. So, I almost fell to pieces, but I managed to rise and break through that which had been weighing on me for so many years.

Yes, I’m changed; people change a lot sometimes. I even stopped writing horror fiction for the most part, something that lasted several years. Don’t get me wrong; I still loved horror fiction and films, it was just that it wasn’t so easy to conjure horror up from within when writing. I learned something about myself; it was so easy to write about Lovecraftian cosmic horror because it resonated within me, it echoed my own deeply-buried worldview. But now, ever since the first, intense experiences I had, I learned one thing above all: there is a sense, a purpose, to everything. And where there is a purpose to life, there is no place left for true, Lovecraftian cosmic fear; not any longer.

The first time I managed to write a new Lovecraftian piece, last year, it was so exhilarating; it’s so very different, but it’s also like visiting old, dear friends. Yes, I will continue devising Yog-Sothotheries from time to time; I love them too much not to. And I am taking up my various Necronomicon projects, slowly, steadily. It is time; I am better prepared for it all.

I have several webs and journals, dedicated to Traditional Witchcraft (in Spanish), to literature (also in Spanish), my books, even my LiveJournal which is mostly dedicated to debunk esoteric frauds and, of late, my new series LOL-Cat-Astrophe 2012, which concerns a feline roasting of 2012 New-Ageish beliefs.

But here I will post whatever I have to say concerning Lovecraft, Cthulhu, grimoires and especeally whatever concerns the Necronomicon, Al Azif, in its various versions. As a writer of horror fiction, of Mythos fiction, contributing to this haunting world is always a pleasure; as a fascinated student of the pseudobiblia, I never cease to be amazed; as a witch, I am very interested in the magical (or magickal if it suits you better) undercurrents of Cthulhuvian grimoires and the various brands of Necronomicon gnosis.

Stick around; I intend to rock the boat.