The Written Word Where The Veil Is Thin

Within occult practices writing down thoughts with the intention of them being read by another is a problematic endeavour. We firstly face the hurdle of understanding as one tries to codify the abstract in what at best can be tangential. The limitations of words and their history of meaning leaves to chance the breadcrumbs our minds spread as the words attempt to crystallise the hot fluids of thought. We also face the problem of writing too much. The word occult is a prudent one for much remains hidden, not out of a simple desire for secrecy but because personal and private experience inform the knowledge we acquire which is rendered null and vacuous when set before those who have not travelled the ways that led to it.

The want for quick information and the desire to exploit that has governed large tracts of writings for several decades and beyond. Many have come and gone with their books of revelation stating that they finally reveal some hidden truth. If this is the case, then loss in translation from thought to word is the frustration many will face. Equally frustrating are the many mistranslations of meaning and purpose that the reader can find themselves falling in to. Common are the occurrences of assumption when the written word is set forth into the wild. The mistake of confusing the writing as an end instead of barely a glimpse of a beginning is a glamour commonly seen with publications doing little to correct this self-serving illusion. As Andrew Chumbley aptly stated at the end of the grimoire Azoëtia, ‘Mistake not this book for the words upon its pages’.

The misdirection of a true grimoire is all too often misunderstood as a form of insider elitism, a humour to be had by the author even without the ability to witness the result. This is more indicative of the readers vexation than anything else. The truth lies more in defining the edges and borders, the grass verges and hedgerows that indicate where the path does not go, leaving the true way open. This literary painting is an elusive method to follow and an endless source of bewildering wonderment. Commitment to this pursuit of knowledge is only frustrating to those whose motives are found wanting. Mistake not though this missive as a condemnation of the pen for words hold immense power that have raised up messiahs and toppled empires. The grandest of theories can implode and the gravest of sins be forgiven by a single word.

With ink dried and words defined we face the treacherous ground of dispersion which is a vast arena of dual potentiality as the work is set forth without guide or true provenance. Doing so is a responsibility the writer must take, and a conscious choice must be made on whether custodianship of the work and words remains at the source without the heady influence of coin. In the field of the truly esoteric words are the sigils of power that form as the inner world takes outer form. They develop a greater meaning and purpose as we formulate the grand sum of experience into singular flowing points. Even the act of writing itself is a magical act; a ritualistic focus and a scriptural act of devotion.

When the word is a magical act our responsibility to it becomes clear. The respect and care we show our practice extends to its codification and by proxy of this we can read other works with a more critical eye. Much is revealed in the writing of another beyond the message they wish to convey. This whole picture is the true work of the author, the apprehension of their intent. Words to the right eyes capture and reveal but rarely conceal. To scribe a true Mysterium one must know thyself not the reader for the exteriority of the Arcanum is not the individuals’ domain and the perception of its edification beyond constraint. Only clarity within darkest truth feeds the scribes pen.

Daniel Yates