Showing posts with label Sirius. Show all posts
Showing posts with label Sirius. Show all posts

Saturday, 27 September 2025

The Book of Lies : 1984 as Taoist Holy Scripture

"You Don't Exist, Winston."

Richard Burton in 
a Blue Boiler Suit 
- 1984 (1984)



He doesn't exist! He's a fictional character!!
Listen to Richard Burton!
He Knows So Much About These Things
And stop calling him "O'Brien"

"Throughout his entire life,right up until the time of his, Crowley always steadfastly and consistently maintained that The Book of The Law was a genuinely revealed text, received and channeled through are receptive medium in Cairo in 1904 [ Crowley's mistress] direct from The Secret Chiefs,
Transcribed verbatim.

The Book of Lies is a lot funnier."

 - Robert Anton Wilson


At Last! - The 1948 Show (aka The Ur-Python)





Masks of the Illuminati
Sir John picked out a Crowley volume entitled, with Brazen effrontery, The Book of Lies. 
Opening it, he found the title page:

THE BOOK OF LIES 
WHICH IS ALSO FALSELY CALLED 
BREAKS 
THE WANDERINGS OR FALSIFICATIONS 
OF THE ONE THOUGHT OF 
FRATER PERDURABO 
WHICH THOUGHT IS ITSELF 
UNTRUE

Despite himself, Sir John grinned. This was a variation on the Empedoclean paradox in
logic, which consists of the question: "Empedocles, the Cretan, says that everything Cretans say is a
lie; is Empedocles telling the truth?" Of course, if Empedocles is telling the truth, then -- since his
statement "everything Cretans say is a lie" is the truth -- he must also be lying. On the other hand, if
Empedocles is lying, then everything Cretans say is not a lie, and he might be telling the truth.
Crowley's title page was even more deliberately perverse: if the book is "also falsely called Breaks,"
then (because of the "also") the original title is false, too, and it is not a book of lies at all. But, on
the other hand, since it is the "falsifications. . . of the one thought. . . which is itself untrue," it is the
negation of the untrue and, therefore, true. Or was it?

Sir John turned to the first chapter and found it consisted of a single symbol, the question
mark:

?

Well, compared with the title, that was at least brief. Sir John turned the page to the second
chapter and found equal brevity:

!

What kind of a joke was this? Sir John turned to Chapter 3, and his head spun:

Nothing is.
Nothing becomes.
Nothing is not.

The first two statements were the ultimate in nihilism; but the third sentence, carrying
nihilism one step further, brought in the Empedoclean paradox again, for it contradicted itself. If
"nothing is not," then something is. . . .

What else was in this remarkable tome? Sir John started flipping pages and abruptly found
himself facing, at Chapter 77, a photograph of Lola Levine. It was captioned "L.A.Y.L.A.H." The
photo and the caption made up the entire chapter. Lola was seen from the waist up and was
shamelessly naked, although as a concession to English morality her hair hung down to cover most
of her breasts.

Sir John, on a hunch, counted cabalistically. Lamed was 30, plus Aleph is 1, plus Yod is 10,
plus second Lamed is 30, plus second Aleph is 1 again, plus He is 5; total, 77, the number of the
chapter. And Laylah was not just a loose transliteration of Lola; it was the Arabic word for "night."
And 77 was the value of the curious Hebrew word which meant either "courage" or "goat": Oz. The
simple photo and caption were saying, to the skilled Cabalist, that Lola was the priestess incarnating
the Night of Pan, the dissolution of the ego into void. . .

Sir John decided to buy The Book of Lies; it would be interesting, and perhaps profitable, to
gain further insight into the mind of the Enemy, however paradoxical and perverse might be its
expressions. He approached the counter, and found with discomfort that the clerk seated there was
Lola Levine herself. Since he had just been looking at a photo of her, naked from the waist up, he
blushed and stammered as he said, "I'd like to buy this."

"One pound six, sir," Lola said, with no more flicker of expression than any other clerk. Sir
John realized that it had been nearly three years since the one occasion on which they had met on the
Earth-plane; she had no reason to remember him. Then, was it possible that all the astral visions in
which she tormented and attempted to seduce him were the product of his own impure imagination?
Or were those visions as real as they seemed, and was she merely a consummate actress and
hypocrite? It was the metaphysical equivalent of the Empedoclean paradox.

A stout, elderly woman with a Cornish accent asked Lola, "I'm planning to stay for the
lecture. Is it pronounced Crouly or Crowley?"

"It is pronounced Crowly," said a voice from the door. "To remind you that I'm holy. But my
enemies say Crouly, in wish to treat me foully."

Sir John turned and saw Aleister Crowley, bowing politely to the Cornish woman as he
completed his jingle. Crowley was a man of medium height, dressed in a conservative pinstripe suit
jarringly offset by a gaudy blue scarf in place of the tie and with a green Borsalino hat worn at a
rakish angle. It was the outfit an artist on the Left Bank might wear, to show that he had become
successful; it was definitely eccentric for London.

The Cornish woman stared. "Are you really the Great Magician, as people say?"

"No," said Crowley at once. "I am the most dedicated enemy of the Great Magician." And he
swept past imperiously.

The Cornish lady gasped. "What did he mean by that?" she asked nobody in particular.

Sir John understood, but wasted no time trying to explain. Crowley was heading for the
lecture room and Sir John followed him closely, wanting a seat up front where he could observe the
Master of the M.M.M. most closely. The paradox had been typical of Crowley's style: he referred,
obviously, to the Gnostic teaching that the sensory universe was a delusion, created by the Devil, to
prevent humanity from seeing the Undivided Light of Divinity itself. A strange joke to come from a
Satanist; but, of course, some Gnostics had taught that Jehovah, creator of the material universe, was
the Devil, the Great Magician. The Bible begins with Beth, according to this teaching, because Beth
is the letter of the Magician in the Tarot, the Lord of the Abyss of Hallucinations. . .

The lecture room was filling rapidly and Sir John scampered into a front-row seat. He
noticed that Crowley had lowered his head and closed his eyes, obviously preparing himself for the
lecture by some method of invocation or meditation. Behind him on the wall was a large silver star
with an eye in its center, a symbol associated (Sir John knew) with both the goddess Isis and the
Dog Star, Sirius.

"Do what thou wilt shall be the whole of the law," Crowley intoned suddenly, without
raising his head. Then he looked about the room whimsically.

"It is traditional in the great Order which I humbly represent," he went on, "to begin all
ceremonies and lectures with that phrase. Like Shakespeare's Ducdame, it is a great banishing ritual
against fools, most of whom leave the room at once on hearing it uttered. Observing no stampede to
the doors I can only wonder if a miracle is occurring tonight and I am speaking, for once, to an
English audience that does not consist mostly of fools."

Sir John smiled in spite of himself.

"My topic tonight," Crowley went on, "is the soldier and the hunchback. Those are poetic
terms I regularly employ to designate the two most interesting punctuation marks in general use
throughout Europe -- the exclamation point and the question mark. Please do not look for
profundities at this point. I call the exclamation point 'the soldier' only out of poetic whimsy,
because it stands there, erect, like a soldier on guard duty. The question mark I call the 'hunchback,'
similarly, only because of its shape. I repeat again: there is no profundity intended, yet."

Sir John found himself thinking of the first two chapters of The Book of Lies, which said
only "?" and "!"

The question mark or hunchback, Crowley went on, appeared in all the basic philosophical
problems that haunt mankind: Why are we here? Who or what put us here? What if anything can we
do about it? How do we get started? Where shall wisdom be found? Why was I born? Who am I?
"Unless you are confronted with immediate survival problems, due to poverty or to the deliberate
choice of an adventurous life, these hunchbacks will arise in your mind several times in an ordinary
hour," Crowley said. "They are generally pacified or banished by reciting the official answers of the
tribe into which you were born, or simply deciding that they are unanswerable." Some however,
Crowley went on, cannot rest in either blind tradition or resigned agnosticism, and must seek
answers for themselves, based on experience. Ordinary people, he said, are in a sense totally asleep
and do not even know it; those who persist in asking the questions can be described as struggling
toward wakefulness.

The soldier, or exclamation point, he continued, represents the moment of insight or intuition
in which a question is answered, as in the expressions "Aha!" or "Eureka!"

"I now present you, gratis, two of the nastiest hunchbacks I know," Crowley said, smiling
wickedly. "These two are presented to every candidate who comes to our Order seeking the Light.
Here they are:

"Number One: Why, of all the mystical and occult teachers in the world, did you come to
me?

"Number Two: Why, of all the days in your life, on this particular day?

"That is all you need to know," Crowley said. "I might as well leave the platform now, since,
if you can answer those questions, you are already Illuminated; and if you cannot, you are such
dunces that further words are wasted on you. But I will take mercy on you and give you the rest of
the lecture, anyway."

Crowley went on to define the state of modern philosophy (post-David Hume) as "an
assembly of hunchbacks." Everything has been called into question; every axiom has been
challenged -- "including Euclid's geometry among modern mathematicians"; nothing is certain
anymore. On all sides, Crowley said, we see only more hunchbacks -- questions, questions,
questions.

Traditional mysticism, Crowley continued, is a regiment of soldiers. The mystic, he said,
having attained an "Aha!" or "Eureka!" experience -- a sudden intuitive insight into the invisible
reality behind the subjective deceptions of the senses -- is apt to be so delighted with himself that he
never asks another question and stops thinking entirely. Out of this error, Crowley warned, flows
dogmatic religion, "a force almost as dangerous to true mysticism as it is to scientific or political
freedom."

The path of true Illumination, Crowley proceeded, walking to a blackboard at the right of the
room, does not consist of one intuitive insight after another. It is not a parade of soldiers, "like this,"
he said, writing on the board:

!!!!!!!!!!!!!!!!!!!!!!!!!!!!

"Anybody in that state is an imbecile or a catatonic, however blissful his lunacy may be,"
Crowley said sternly.

The true path of the Illuminati, Crowley stated more emphatically, is a series of soldiers and
hunchbacks in ever-accelerating series, which he sketched as:

?. . . . !. . . .?. . . !. . . ?. . !. . ?. !. ?
!?!?!?!?!?!?!?! etc.

"To rest at any point, either in intuitive certainty or doubtful questioning," he said flatly, "is
to stagnate. Always seek the higher vision, whatever states of ecstatic insight you may have reached.
Always ask the next harder question, whatever questions you may have answered. The Light you are
seeking is quite correctly called ain soph auer in Cabala -- the limitless light -- and it has, quite
literally, the characteristics mathematicians such as Cantor have demonstrated belong to Infinity. As
the Upanishads say, 'You can empty infinity from it, and infinity still remains.' However deep your
union with the Light, it can become deeper, whether you call it Christ or Buddha or Brahm or Pan.
Since I am, thank God," he said the last two words with great piety, "an Atheist, I prefer to call it
Nothing -- since anything we say about it is finite and limited, whereas it is infinite and unlimited."

Crowley proceeded to discourse on the infinite with great detail, summarizing mathematical
theories on the subject with remarkable erudition and felicity. "But all this," he ended, "is not the
true infinite. It is only what our little monkey-minds have been able to comprehend so far. Ask the
next question. Seek the higher vision. That is the path that unites mysticism and rationalism, and
transcends both of them. As a great Poet has written:

We place no reliance
On Virgin or Pigeon;
Our method is Science,
Our aim is Religion.

Those blessed words!" he said raptly. "Holy be the name of the sage who wrote them!"

At this point Sir John was far from sure whether he had been listening to the highest wisdom
or the most pretentious mumbo jumbo he had ever heard. The Divine No-Thing was much like
certain concepts in Buddhism and Taoism, but it was also a nice way of seeming to utter
profundities while actually talking nonsense. But then, of course, Crowley's whole point had been
that anything said about infinity was itself Nothing in comparison with infinity itself. . .

With a start, Sir John realized that the lecture was over. The audience was applauding,
somewhat tentatively, most of them as confused by what they had heard as Sir John himself.

"You may now," Crowley said carelessly, "unburden yourselves of the thoughts with which
you passed the time while pretending to listen attentively to me; but in accord with English decorum
and the rituals of the public lecture, you must phrase these remarks in the form of questions."

There was a nervous laugh.

"What about Christ?" The speaker was a redfaced man with a walrus mustache; he seemed
more irritated by what he had heard than the rest of the audience. "You didn't say nuthin' about
Christ," he added aggrievedly.

"A lamentable oversight," Crowley said unctuously. "What about Christ, indeed? Personally,
I hold the man blameless for the religion that has been foisted upon him posthumously. Next
question -- the lady in the back row?"

"Is socialism inevitable?"

Sir John found himself wondering when Crowley would become aware of the Talisman and
attempt to cajole him into surrendering it. With horror he realized that such overwhelming of his
mind was possible: Crowley did possess charm, magnetism and charisma, like many servants of the
Demon. What was it Pope had written about Vice? A creature of such hideous mein/That to be hated
needs but be seen/But something something something/We first pity, then endure, then embrace. . .
"Many things are inevitable," Crowley was saying. "The tides. The seasons. The fact that the
questions after a lecture seldom have anything to do with the content of the lecture. . ." What do you
seek? The Light. The limitless light: ain soph auer. And the darkness knew it not. . .

"What about the Magick Will?" Sir John asked suddenly, during a pause.

"Ah," Crowley said. "That is a Significant Question." Somehow he conveyed the mocking
capitals by his intonation. "Such questions deserve to be answered with demonstrations, not with
mere windy words. Laylah," he called to the back of the room. "Could you bring the
psychoboulometer?"

Lola approached the podium with something that looked hideously like a medieval thumb-
screw.

"There is firstly conscious will," Crowley was saying, looking directly at Sir John. "We all
attempt to exercise this every day. 'I will give up smoking.' 'I will be true to my wife.' Ninety-nine
times out of a hundred such resolutions fail, because they are in conflict with the force that really
controls us, Unconscious Will, which can not be frustrated. Indeed, even the profane psychologists
have rediscovered what the mystics always knew: Unconscious Will, if prevented from acting,
returns in the night to haunt our dreams. And sometimes it returns in the daytime, too, in the form of
irrational behaviors which we cannot understand. Magick Will should not be confused with either of
these, because it includes both and is greater than both. To perform an act of Magick Will is to
achieve the Great Work, I might say. The holiest of all holy books says in this connection, 'Thou
hast no right but to do thy will.' Alas, if you think you are doing your true Will, without magickal
training, you are almost always deluding yourself. . . But I am engaging in the windy verbiage I
promised to avoid, and here is the implement of demonstration. Would anybody care to give us an
exhibit of what they can accomplish by conscious Will?"

"I think I shall give it a try," Sir John said, wondering at his own daring. "That's only fair
since I asked the question," he added, feeling inane.

"Well, then, good! Come up here, sir," Crowley said with a grin that was beginning to look a
bit sinister to Sir John. "We have here," he went on, holding the ugly thumb-screw so that everybody
could get a good view, "one of the implements once used by the Dominican Order to enforce the
religion which, as I said, has been foisted on Christ." He set the torture device on the podium. "They
used it as an instrument of torture, but we shall use it as a measure of Will."

Sir John was now standing beside Crowley, looking uneasily at the thumb-screw. "Just insert
your thumb, sir," Crowley said easily.

"What???" Sir John could hardly believe his ears.

"Just insert your thumb, down here," Crowley went on blandly, "and then turn the handle
which tightens the vise. The needle on the boulometer -- my own addition to this toy -- will register
how far you are able to withstand pain by sheer Will; 10 is a good score, and 0 means you are a
mere jellyfish. How far do you think you can go?"

Sir John felt every eye in the room upon him. He wanted to cry, "I am not such a fool as to
torture myself for your amusement," but -- he was even more afraid of appearing a public coward. Is
that why people go into armies? he asked himself grimly. . . "Very well," he said coldly, inserting
his thumb.

And Abraham rose up early in the morning, and saddled his ass, and took two of his young men with him, and Isaac his son, and clave the wood for the burnt offering, and rose up, and went unto the place of which God had told him.

And it was about the sixth hour, and there was darkness over all the earth until the ninth hour.

And the sun was darkened, and the veil of the temple was rent in the midst.

And Abraham took the wood of the burnt offering, and laid it upon Isaac his son; and he took the fire in his hand, and a knife; and they went both of them together.

And when Jesus had cried with a loud voice, he said, Father, unto thy hands I commend my spirit; and having said thus, he gave up the ghost.
"You've only reached two in the boulometer," Crowley said. "The audience will think you're
not trying, sir."

"Damn you!" Sir John whispered, perspiration cold on his back. "I am done with this cruel
joke. Let us see how much better your Magick Will can do!"

"Certainly," Crowley said calmly. He inserted his thumb into the cruel mechanism, and
began turning the vise with slow deliberation. Not a muscle moved in his face. (Sir John suspected
that he had gone into a trance.) The needle on the boulometer crept slowly, accompanied by gasps
from the audience, all the way to 10.

"That," said Crowley gently, "might pass for an elementary demonstration of Magick Will."

There was a burst of spontaneous applause.

"It will also do," Crowley said, "as an illustration of our thesis about the soldier and the
hunchback. The first rule of our Magick is: never believe anything you hear and doubt most of what
you see." He turned the "psycho-boulometer" around, revealing that he had disengaged the screw
and had been turning the handle without actually tightening the vise. There was an angry gasp.

"Oh," Crowley said, "are you feeling cheated? Remember this, then: you are cheated the
same way every time emotional turmoil or fixed ideas distort your perception of what is actually
before your eyes. And remember to look for the hunchback behind every soldier."

The audience began to file out, muttering and chattering as excitedly as a group of
chimpanzees who had just found a mirror.

And then Sir John realized that Crowley had descended from the podium and was
approaching him.

"Sir John Babcock," Crowley said warmly, "did you ever hear the story of the man with a
mongoose in his basket?"

At least, unlike Lola, Crowley wasn't pretending not to recognize Sir John. "What
mongoose?" Babcock asked carefully.

"It was on a train," Crowley said. "This chap had a basket under his seat and another
passenger asked him what was in it. 'A mongoose,' he said. 'A mongoose!' said the other. 'What on
earth do you want with a mongoose?' 'Well,' said our hero, 'my brother drinks a great deal more than
is good for him, and sometimes he sees snakes. So I turn the mongoose on them.' The other
passenger was baffled by this logic. 'But those are imaginary snakes!' he exclaimed. 'Aha!' said our
hero. 'Do you think I don't know that? But this is an imaginary mongoose!'

Sir John laughed nervously.

"That's the way it is with talismans," Crowley said. "When a phantom climbs, the ghost of a
ladder serves him. But do keep that pentacle in your vest if it makes you feel better. I must go now.
We shall meet again."

And Sir John stared as Crowley made his way to the back of the room, where he greeted
Lola with a kiss. He whispered something; they both turned and looked back at Sir John; they waved

cheerfully. And then they were gone. 

Monday, 2 October 2023

One Man and His Dog






"Obviously, one of the most SUCCESSFUL Periods with Superman was The Fifties [ which is -- Fandom, please take note -- the exact OPOSITE of what most people THINK it is, if you canvas Public Opinion ], the Mort Weisinger stuff, which were HUGELY successful, they were read by KIDS, they were read by little girls, little boys....


I think what was great was that 

he took things that we all 

understood, like --


Superman suddenly has a DOG!

And he's got a DEN

that's got all His STUFF in it

and He's got RELATIVES 

(who are ALIENS), and

he's got FRIENDS, 

from The Future --


But the actual STORIES are still 

all about Guilt, and Loss

and Fear, and Love,

and EVERYTHING 

That We UNDERSTAND

but on an EPIC SCALE --


So, when Superman walks The Dog, 

He walks it past SATURN --

....but he's STILL Walking The Dog...!! 


He's like Your Dad, y'know? --

He's STILL gotta go 

out, walk the dog,

and he still goes home, and 

Lois gives him a hard time --


And I thought, 

'Those are all the things 

that MAKE The Story', y'know?


Because the thing with Superman is, 

even when He can JUGGLE STARS,

He can still Go Home, and 

Lois Lane can undermine 

him with ONE Cruel Word...(!!)


And that's why we made him 

even MORE Powerful than ever,

because everyone was saying, 

"Oh, you can't Do a Superman story,

'coz, if He can Do ANYTHING, then 

What conflicts are there...?"



And I thought, "Well.... 

EMOTIONAL Conflicts..!

The BIGGEST ones, 

The ones We ALL understand -- "

Tuesday, 29 August 2017

The Sanyassin : Robert E. Howard





"Robert Howard, who was a strange bird from Texas, wrote all these great stories, originating in pulp, I believe. 

He had a great gift for this perverse mythos of Darkness and Death, raging mad Wagnerian mentality."


Oliver Stone


"He was convinced, y'know, that the town wanted to exterminate him, and this kind of thing, and he'd go home and board up his windows, load rifles and, y'know just a complete NUT.


But the best part, is that he's alone one night, and he feels a shadow overtake him from behind - and he knows that Conan is standing behind him, with a large axe

Conan tells him 'Just stay there and write, and if you don't do exact what I'm going to tell you, I'm going to cleave you down the middle.'

And he's so terrified, because Conan exudes so much power, and fear, and he can just see the axe glinting in his peripheral vision, y'know, that he just writes all night.


And, of course, with the Coming of Dawn, he turns around finally, and Conan is gone.

So he just falls upon the floor, completely spent. And he realises, "I only have to sleep for a few hours, because then I must fortify myself for when darkness comes again, so will Conan...."

And of course, Conan did, and he wrote almost all of these stories in a very short period of time because Conan was standing over him with an axe!


And I've always felt this way myself! [chuckles]

- John Milnius.

Reflections about the Death of Robert E. Howard

The article "Reflections about the Death of Robert E. Howard" was originally published as a chapter in Javier Martín Lalanda, La canción de las espadas: fantasía heroica en Robert E. Howard, Tiempo de Ediciones S. A., Madrid, 1983, p. 144-147, and appears here with the author's kind permission. Notes by the translator are enclosed between square brackets. 
By Javier Martín Lalanda
© 1983, 2003 by Javier Martín Lalanda. All rights reserved.
English translation by Josep Parache.


The 16th June 1936 Robert E. Howard put an end to his life. His friend H. P. Lovecraft pointed out the causes of his suicide: a great depression provoked by the impending death of his mother.

Suicide is usually linked to cowardice, but this is a conventional idea of conventional people. We know that the Howard that is revealed in his writings was in no way a coward. 

The love for his mother and the great dependence on her have been mentioned as the causes of his suicide. 

However, it should be investigated if it was a murder commited by somebody who, knowing his instability, took advantage of his motherâs impending death in order to do away with him. 

It has been suggested that Howard carried a gun as a consequence of his paranoia because he thought his numerous enemies, who have been considered as imaginary, wanted to kill him. 

But the matter at issue is to think whether those enemies existed and could murder him. An investigation, not exactly literary, would then be necessary.


Considering the other hypothesis, the traditionally admitted one, the one of suicide, I have gone through a few autobiographical texts which are quite pithy because they cast light on it. In one of these writings, A Touch of Trivia, we read about his complicated ancestry:

"There is not one foot of British ground, not one handsbreadth of soil in England, Scotland, Ireland, and Wales that has not been drenched with blood÷my own blood÷the same that courses through my veins. In every war, I have had kin on both sides. (·) Well, I am largely Gaelic; Irish, and Scotch-Irish, and Norman-Irish, and Anglo-Irish, and straight Norman, with a touch of the Dane÷Dano-Irish, from a red-headed great-grandmother. Mainly I am Irish and Norman, with the Irish predominating." (1)


As a result of these words it is logical that the theories and longings of Howard÷who, by the way, occasionally signed in Gaelic as Raibeard Eiarbhin hui Howard÷on his Celto-Germanic ancestors took the form of the essay The Hyborian Age, whose aim was to provide the character of Conan÷his other self, as we shall see÷with his forbears.

Let us keep on reading because he goes on to dwell on an interesting question÷his dreams:

"I have lived in the Southwest all my life, yet most of my dreams are laid in cold, giant lands of icy wastes and gloomy skies, and of wild, windswept fens and wilderness over which sweep great sea-winds, and which are inhabited by shock-headed savages with light fierce eyes. 

With the exception of one dream, I am never, in these dreams of ancient times, a civilized man. 

Always I am the barbarian, the skin-clad, tousle-haired, light-eyed wild man, armed with a rude axe or sword, fighting the elements and wild beasts, or grappling with armored hosts marching with the tread of civilized discipline, from fallow fruitful lands and walled cities.

 This is reflected in my writings, too, for when I begin a tale of old times, I always find myself instinctively arrayed on the side of the barbarian, against the powers of organized civilization." (2)


In his works we have seen ancient societies, extinct races, decaying ages and so on, praising the quietness of primitivism versus the progress and the laws that complicate our existence. However, it is not a nostalgic remembrance of the golden age, since such an age did not exist for Howard, but the acknowledgement of a time when societies were not "corrupted" by abuse and deceit, which have been created, according to him, by civilization.

In addition to that instinct that makes him side with the barbarian, there is more, as we can observe reading the letter to Clark Ashton Smith of 14th December 1933:

"While I donât go so far as to believe that stories are inspired by actually existent spirits or powers (though I am rather opposed to flatly denying anything) I have sometimes wondered if it were possible that unrecognized forces of the past or present÷or even the future÷work through the thoughts and actions of living men. This occurred to me when I was writing the first stories of the Conan series especially. I know that for months I had been absolutely barren of ideas, completely unable to work up anything sellable. 

Then the man Conan seemed suddenly to grow up in my mind without much labor on my part and immediately a stream of stories flowed off my pen÷or rather, off my typewriter÷almost without effort on my part. 

I did not seem to be creating, but rather relating events that had occurred. Episode crowded on episode so fast that I could scarcely keep up with them. 

For weeks I did nothing but write of the adventures of Conan. The character took complete possession of my mind and crowded out everything else in the way of story-writing. 

When I deliberately tried to write something else, I couldnât do it. I do not attempt to explain this by esoteric or occult means, but the facts remain. I still write of Conan more powerfully and with more understanding than any of my other characters. 

But the time will probably come when I will suddenly find myself unable to write convincingly of him at all. 

That has happened in the past with nearly all my rather numerous characters; suddenly I would find myself out of contact with the conception, as if the man himself had been standing at my shoulder directing my efforts, and had suddenly turned and gone away, leaving me to search for another character." (3)


It seems that at first Howard thought that his characters were a consequence of his dreams and of an ancestral memory that was revealed by them. The text firstly quoted is analogous to another, Turlogh OâBrienâs dream, but above all to the description of the land of the dead, according to the Cimmerian religion, which Conan made to Belit in Queen of the Black Coast (4) and which was discussed above. The dates of composition of Conanâs description, Turloghâs fragment and the letter to Clark Ashton Smith must be almost coincidental: the first days of 1934, a date near to the composition of The Valley of the Worm (5), the main and also the first James Allison story to be written. 

However, in the letter, the echo of a certain amazement of its author regarding the possession which his character Conan took of him can be observed. 

Some time afterwards, in another letter addressed to the same writer, Howard seems to deny what he had previously told him, resorting to rationalizations that seem naïve. Thus he wrote to him the 23rd July 1935:

"It may sound fantastic to link the term "realism" with Conan; but as a matter of fact÷his supernatural adventures aside÷he is the most realistic character I ever evolved. 

He is simply a combination of a number of men I have known, and I think thatâs why he seemed to step full-grown into my consciousness when I wrote the first yarn of the series. 

Some mechanism in my sub-consciousness took the dominant characteristics of various prizefighters, gunmen, bootleggers, oil field bullies, gamblers, an honest workmen I had come in contact with, and combining them all, produced the amalgamation I call Conan the Cimmerian." (6)

We have the feeling that Howard is contradicting himself. His words sound false. Of what is he afraid? It seems obvious that an invisible force acts on the writer. There is a desire for death, symbolized by the return to the origins, manifest in his dreams and in his characters, who go backwards in time until they catch up with Conan, whose world Howard struggles to realize, writing his essay on the Hyborian Age. 

What has been said about the necromancers and magicians who tried to recreate death, in the chapter dedicated to the Cimmerian, can be claimed for Howard, for his essay The Hyborian Age could be regarded as induced by delirium. It has clearly been seen÷Howard himself wrote it÷that the author was in conflict with himself, with one of his parts. This imbalance could have led him to his death.

If these explanations of psychoanalytic character are not accepted, we can have recourse to a different point of view, which will suit more those who say that what should be applied to Howard are the so-called "traditional" methods, since he was a traditional man, with more knowledge on the old than on the modern. Well then, in the work of Julius Evola, which bears the thought-provoking title of Rivolta contro il mondo moderno÷where the question is analized of why man is now different from what he was in the past, and where the author uses a great deal of borrowings from magic, mythology, history and other sciences, which are all put together in a synthesis in comparison with which The Hyborian Age does not seem so far-fetched at all÷particularly in chapter 8 of the first part, "Le due vie dellâoltretomba" ("The Two Paths in the Afterlife"), we can find similarities to what we read in the letter we are discussing

Evola says that according to all cultures (but Christianity), man was made up of body, the conscious "I" (which was called personality), and a third part analogous to the latter, which the Greeks called "daemon" and which has nothing to do with the Christian demon:

"When man is considered from a naturalistic point of view, the demon, could be defined as the deep force that originally produced consciousness in the finite form that is the body in which it lives during its residence in the visible world. This force eventually remains "behind" the individual, in the preconscious and in the subconscious dimensions, as the foundation of organic processes and subtle relations with the environment, other beings, and with past and future destiny; these relations usually elude any direct perception. 

In this regard, in many traditions the demon corresponds to the so-called double, which is perhaps a reference to the soul of the soul or the body itself; this "double" has also often been closely associated with the primordial ancestor or with the totem conceived as the soul and the unitary life that generated a stock, a family, a gens, or a tribe, and therefore it has a broader sense than the one given to it by some schools of contemporary ethnology. 

The single individuals of a group appear as various incarnations or emanations of this demon or totem, which is the "spirit" pulsating in their blood." (7)

In his cryptic way Evola goes on to explain how after death this part of the individual, the daemon, is integrated itself with the totem, and thus it reaches a kind of immortality linked not to the individual but to the species. This is what has been designated as the "path of the ancestors".
In addition, in all traditions it is hinted at the possibility of reaching, by means of a deed of heroic nature, a bodiless immortality, since the body always disappears after death. This immortality could be reached as long as a strong linkage between the "I" and the daemon existed, the double being the location or body of the "I". The old Germans thought that way when they thought that after dying in battle they were led to Walhalla. Obviously this kind of immortality is within the sorcererâs reach. We wonder whether Belit, who supposedly died heroically in her fight against the winged being, reached immortality and could in that way return in order to help her lover.

To comment further on the results of this investigation based on the "traditional" point of view, it could be said that Howard was controlled÷we do not know the reason÷by his daemon, which was closely linked to his ancestors, and this was useful for him in the creation of his characters. However, from that moment on when these characters began to prevail over him÷particularly Conan, whose entity he wanted to reject÷his suffering and imbalance began. Thus when his mother died, just an accident in the drama, he killed himself.
It is not a coincidence that one of his last stories, maybe the very last one, is Red Nails (finished in 1935), in which one could feel the smell of death, maybe his own death. We have already seen how in it the two factions of Xuchotl ended up destroying each other. The city eventually remains deserted. The end for Howard is death as well.

Is not the weapon used by Tolkemec, the only firearm that can be found in the Conan stories penned by Howard, a bit out of context, an image of the gun that he used to put an end to his life? In addition, Tolkemec, almost a devil, who comes out of the graves, learning from the secrets and the knowledge of his ancestors, reminds us of the daemon. Does the partition of Xuchotl into two areas, East and West, correspond to the partition of Howard into Howard the man and Howardâs double, the writer? If it was like that, Howard would have behaved like his heroes, fighting without mercy to the death. His suicide would have been the result of his fight.


NOTES
(1) [Glenn Lord, The Last Celt, Berkley, New York, 1977, p. 34.]

(2) [From "On Reading ö and Writing", in Lord, p. 51. Originally it was a passage from a letter of Howard to Lovecraft of circa late May-early June 1932.]

(3) [Lord, p. 57. Letter dated in Sprague de Camp, Literary Swordsmen and Sorcerers, Arkham House, Sauk City, 1976, p. 297.]

(4) [Queen of the Black Coast, published in Weird Tales, May 1934.]

(5) [The Valley of the Worm, published in Weird Tales, February 1934.] 

(6) [Lord, p. 58. Letter dated in Sprague de Camp, Literary Swordsmen and Sorcerers, Arkham House, Sauk City, 1976, p. 296.]

(7) Rivolta contro il mondo moderno, Ed. Mediterranee, Roma, [1969]. It has been recently reprinted [1974, 1976, 1982, 1984 and 1993]. It has only been translated into French with the title of Révolte contre le monde moderne, Les Éditions de lâHomme, [Montreal-Brussels, 1972], distributed by Hachette.

[There is an English translation: Julius Evola, Revolt against the Modern World, Inner Traditions International, Rochester, 1995. The quotation is from p. 47-48.]





The Qualities of a Sannyasin

No two sannyasins are the same. 

They each express themselves and attain realisation in a way which depends on their own personality and samskaras. As each sannyasin progresses, his quest becomes clearer and clearer before his mind. He begins to embody higher values and attitudes which reflect a spontaneously growing spiritual awareness and an expanding conception of himself, his aim, and his mission in life.

Aiming high

The sannyasin seeks perfection by doing his best in whatever he is engaged. This is the essence of sannyas life. The sannyasin who is satisfied with second best or who doesn't really try, cannot progress. He has to try to the best of his ability in every activity and under all circumstances, whether adverse or otherwise. He has to seek and aim for perfection, not in others, but in himself.

Perfecting sannyas involves two things: feeling and willpower. It is the whispering voice of inner feeling that tells if one is doing the right thing or the wrong thing, saying the right thing or the wrong thing. It tells the sannyasin when to act and when not to act, when to speak and when not to speak. When the path of right action is known, then all of his energy is thrown into doing and accomplishing what has to be done. This is willpower, which increases according to the degree that he feels, or knows that the actions are correct. Inappropriate actions sap the energy whereas appropriate actions replenish and increase willpower and energy. It is the aim of all sannyasins to become impeccable.

The mission of a sannyasin

The sannyasin is dedicated to self-realization. He seeks to make himself 'real'; to fully accept responsibility and control of his health, his mind and his destiny. For a sannyasin, it is not enough to believe in second-hand dogmas, nor to half-heartedly practice religions or rituals. He seeks direct perception of the truth in his life, without support from any external agency. He seeks to embody the highest state of consciousness, and he will not be satisfied with anything less. He chooses to live in an ashram environment where his mind will be laid bare of all its preconceptions and false beliefs; where he will confront all his inadequacies and problems directly.

He seeks the assistance and guidance of his guru, who has trod the path before him, and has direct perception of the highest reality. For a sannyasin, only the guidance of an enlightened man of knowledge is acceptable. The sannyasins mission is to serve his guru, and the guru's mission is to serve all mankind. He lives a higher life on the earthly plane, not for himself, but for the only self that really exists, the universal self which underlies all of creation and is reflected in every individual. In the guru's service, the sannyasin learns to work with absolute dedication, but without emotional involvement, accepting the limitations of others, while leading an exemplary life amongst them.

The sadhana of a sannyasin

For the sannyasin, the whole of life becomes sadhana. Every event and every incident is an object of awareness, and no special times, places or activities are considered any more beneficial spiritually than any others. For the sannyasin, if God dwells in the temple, then he surely dwells just as much anywhere else. Although he is fully familiar with yoga, the sannyasin himself does not practice a specific yoga sadhana. The practices of yoga are necessary for householders who are living amongst the stresses and strains of worldly life, but not for the sannyasin, who lives in a relaxed ashram environment, free from personal problems.

For sannyasins yoga is not merely a practice, but a dedication of life, which is all fullness in itself. Service is the most important aspect of a sannyasins life, and brings peace and pleasure. Because they have accepted and understood the mind, yoga practices are unnecessary for sannyasins, although they may study and practice yoga in order to teach others.

Because his life is dedicated to the expansion of awareness, to transcending the animal nature and expressing the greatest, noblest, purest and most illumined aspect of spiritual life, a sannyasin seeks not to miss even one moment in indolence, or one breath in carelessness. In a sense, the sannyasin is meditating all day, closely watching his mind and its reactions, even in the midst of duties and responsibilities. He lives above matter and stabilises his awareness, while having every dealing with matter. It is a mistake to try to live the spiritual life exclusively, so in the ashram environment, the spiritual life and the material life are lived together. This is the path of modern sannyas.

The attitude of a sannyasin

A sannyasin lives totally in the present, without regrets for the past or plans for the future. His only expectation is to lose all expectations. The more completely the awareness is maintained in the present, the more powerful the thoughts and actions become. The mind loses its power whenever its attention is drawn away from the task at hand and dwells on past worries or future fears and expectations. The sannyasin attempts to remain totally absorbed in the present activity, to the exclusion of all other thoughts. He is not even concerned with whether he is happy or unhappy. In this way, his mind becomes very powerful and one-pointed.


The sannyasin takes a chance on life, by renouncing all the things that most people find most meaningful. He does not depend on name, fame, money, home or family as the basis for meaning in his life. Many people hold on to their rigid life patterns, possessions and values for fear of discovering that their lives are totally meaningless. The sannyasin releases his conformity and lets go of rigid thinking and living, in an effort to find freedom. He takes a chance, not knowing whether he will lose everything or gain everything. One cannot be a sannyasin without making that jump for the sake of freedom. The essential difference between a sannyasin and a non-sannyasin is that one forsakes all in a bid for freedom, while the other clings to the bondage of false security.