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To: alt.magick.tyagi,alt.magick,alt.paranormal.spells.hexes.magic,alt.witchcraft,alt.satanism,alt.tv.buffy-v-slayer From: nagasivaSubject: Magic, Experience, and Culture (was Willow, Magic, ...) Date: Wed, 12 Jun 2002 09:35:40 GMT 50020612 VII sri catyananda : > ...my real introduction to magic came through my parents' > antiquarian bookstore, and through a book that had belonged > to my grandfather, which was about German culture and customs > and contained a lengthy chapter on folk-magic, with > reproductions of German editions of grimoires like > "Albertus Magnus' Egyptian Secrets," "The 6th and 7th Books of Moses," > and so forth, as well as samples of sigils and talismans, > astrological charts sold at country fairs, and even "the true > length of Christ," a folded paper with prayers on it. I was > fascinated and wanted to learn more. Then we bought a library that > contained all of Crowley's books and i was set to cataloguing them > ... well, that was pretty cool -- and then Doctor Strange comics > arrived on the scene. > > I too do not live a life of fantasy, like the stories in Buffy or in > comics, but i am not ashamed to say that popular culture got me started > thinking about magic, and my own bent for research and fact-finding did > the rest. I did decide on a career in comics, though, and that worked > out quite well. games got me started in doing magic, from solitaire to card tricks to balls and cups and vanishing coins. I loved Blackstone (Jr.) and Houdini, comic book listings and magic shops. performance patter was my obstacle, and while felt potential in me, stage fright was more than I wished to bear. better a ritual performance amongst friends than telling jokes or doing card tricks amongst strangers. I sat and stood wrapt in awe of street-vendors selling magic card decks (the last I saw one in San Diego near the Comic-Con a few years ago, while Hare Krishnas tambourine'd by in gleeful abandon). spells didn't interest me when young because what I found was so often Grimm's fairy tale material, boiling sacrifices and body parts of animals I loved. it wasn't until I met sri catyananda that I had some real appreciation for spellcraft beyond contexts of fiction and abstract, sketchy, archaeology. role-playing was the first I began to seriously think about the subject (because I did this when beginning my philosophic education and magic was a direct challenge to my materialist conditioning). the only meaningful significance it had for me as a child was psychic effects or superpowers. witches wiggled their noses and things happened, they pointed wands and things changed. sometimes, like Mary Poppins might, they may chant or sing. sometimes they recited poetry like MacBeth's witches who I read about with my classmates in high school. the best I could come up with was that they performed a kind of psychological cure for maladies (abortion, curing disease, exorcism or facilitating a communion of subjective psychic fragments through demon-summoning at the least). "black magic" we considered like the bogeyman where I grew up, only children in grammar school believed in it. it's all tricks and mirrors and delusions. I could always fit it into some kind of simplistic explanation that coincided with the teaching at school and the stuff on teevee. this all changed when I discovered more powerful psychoactives than sugar and "Magick in Theory and Practice", which severely disappointed me (in part because I had such a difficult time understanding it, how it fit into any kind philosophy of magic, why its author was so peculiar and artful a writer, why I did not like his text, how I would re-write it, construct my own manual of this sort, etc.). I left the project for later and next picked up Ponce's "Game of Wizards", Zolar's "Encyclopedia of Forbidden Knowledge", and, a bit later, Cavendish's "Black Arts". these got me thinking more holistically about the subject of magic, how its mystical character is so pronounced in some cultures, what ceremonial magic has brought to the entirety, and later, how writing about the subject may severely skew a reader's approach to its practice. I've since understood there's a goodly divide between those who write academic texts about magic from the OUTSIDE and those who actually practice magic THEMSELVES. those who've taken routes of academic study that stayed in contact with me told me horror stories about ejection from credibility based on association with occult organizations and traditions. it is a sad state of affairs whose reflection in fictional works like "Harry Potter", in which we see parallel cultures operating side-by-side ('Muggles' and 'Magical Folks', on the order of the witch-clan -- cultural differences -- evident in such fiction as 'Bewitched': where bloodlines and magical activity also appears largely coincident). Buffy-magic seems to depend on the particular writer of the episode whose interpretation is given to direction of the spell. sometimes we've got Latin, sometimes Wicca or other Neopagan style, sometimes Demonolatry, and even Fantasia. this appears in many media contexts. Catholic, Neopagan, and Middle-Eastern spirit-based magic appears very common in comic books like "Son of Satan" (where he instructs college students about "_esoteric concepts_ as forwarded by everyone from Dion Fortune to Aleister Crowley!" ["The Son of Satan, Vol. 1, #6, Marvel Comics Group, 1976; p. 3, panel 6. -- 333]; or when characters begin talking about people as "stars" in a Crowleyan sense) or "Doctor Strange", which fluctuates from pseudo-Tibetan mysticism to New Age, Neopagan, and even quite Christian or Jewish magical styles (All Praise Be to the Mighty Vishanti!). whereas early role-playing was a fair initial attempt to taxonomize and utilize the global conceptual background of magical practice (using Tolkienian/Medieval backdrops and Greek and Roman as well as quasi-Christian -- often Chivalric/Arthurian -- religious environments), comic book and television magic seems to orient not only to what may be sustained by the purchasing public, but largely to the imagination and background of the contributing writers. the future of magic is better kindled in text by role-playing game writers and philosophers of magic who are practicing mages (e.g. folks like my Knight of Salad Forks, Paul Hume, whose Cyberpunk "Grimoire" was a classic and imaginative expression in this form). the writers of comics and the makers of fiction (especially television) are too inconsistent to form a coherent and contradiction-free picture of how magic is supposed to work, though there are many wonderful ideas and circumstances described by creative plot-designers and it is fun to try to reason out the Buffy-verse, infer Bewitched-verse Laws and Operating Principles, and consider the alternatives to the bloodline receipt of psychic power or the elite guardians of ancient mystic secrets whose cosmic influence and import are quite often impossible to reconcile with the behaviour or cosmic presuppositions in comparable stories featuring what ostensibly the same character. far more entertaininng and enriching in fiction are *novels* by classic writers like Le Guin, McKillip, and Hardy (in their "Earthsea Trilogy", "Riddle-Master Series", and "Master of Five Magics Series", respectively), or even such wonderfully-instructive biographies such as of Merlin in Mary Stewart's series or his portrayal in T.H.White's "Once and Future King". I have heard praise for "Lavender-Green Magic" by Neopagans (Andre Norton, I think), but I have not yet read it. nagasiva
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