Palgrave Sale on Books about Magic

I’m almost done with my review of Johnson’s Svartkonstbocker, but I have an announcement for anyone who likes academic books of magic courtesy of Chas Clifton.

Until December 3, Palgrave has put all of its books on sale. Most of their titles should be on sale for $9.99 with free shipping – both physical copies and ebooks. As many of them will run you around $100 otherwise, this is a great deal. I believe the price in euros is similar for European readers. You can click on the link on the main site page for the code.

So, blog readers…

Knowing Demons, Knowing Spirits in the Early Modern Period, featuring my article on fairy magic? Was $119.99, now $9.99.

Bellingradt and Otto’s Magical Manuscripts in Early Modern Europe (my review)? Was $54.99, now $9.99.

Dillinger’s Magical Treasure Hunting in Europe and North America (my review)? Was $119.99, now $9.99.

Ohrvik’s Medicine, Magic and Art in Early Modern Norway, dealing with the “black art books” of that country (my review)? Was $99.99, now $9.99.

Chess and Newsom’s Folklore, Horror Stories, and the Slender Man (my review)? Drops from $69.99 to $9.99.

How about Davies and Matteoni’s Executing Magic in the Modern Era? That’s a trick question, because it’s open access, but you can get a print copy for $9.99 anyway.

I would also recommend Young’s A History of Exorcism in Catholic Christianity, Ostling’s Fairies, Demons, and Nature Spirits, and Hutton’s Physical Evidence for Ritual Acts, Sorcery, and Witchcraft in Christian Britain, The whole Historical Studies in Witchcraft and Magic series is probably worth a look, although at least one title is bugged so it’s not priced properly. 

I hope many of my readers are in a position to take advantage of this.

 

 

Published in: on November 22, 2019 at 11:46 pm  Comments (1)  

Three out of Four Ain’t Bad: The Book of Four Wizards Update

Still working on that review – but I have a small project update.

I went to NYC for a few days to engage in some intensive research and book work while apartment-sitting for a friend. I managed to finish up the double-check of the text, and I’ve started modernizing the writing. Last time, this took a month – I think it’ll take longer this time, given that the writing is more challenging and I’m working with more images.

I also got to do some research at the reading room of the NYPL. Special thanks to the kind people at the Pforzheimer Collection, who let in a stranger who arrived unannounced to view an Olivia Serres letter. I’m fairly confident now that she’s the fourth hand in the manuscript – and her contributions, once we set aside the early nineteenth-century poetry, do establish her as yet another individual interested in the practice of magic and alchemy.

In the meantime, I might have found another author. The manuscript features a few different divinatory items using numerology based on adding up values of the name of the querent. In one such place, an abbreviated name appears – and the best match for the numerological values seems to be “Thomas Harrington.” I initially thought this might be the work of the original 17th century author, but closer examination of the handwriting makes it more likely this is the late 18th century annotator.

I wasn’t hopeful about finding too much about Mr. Harrington, given how common his name was – until I ran a search in WorldCat. (This is generally a good practice for backgrounding anyone.) There I found a listing for A catalogue of the very rare and curious library of Dr. Thos. Harrington, decd. : comprising old songs, ballads, history, magic, witchcraft …, to be sold at auction by Thomas King Jr. at Covent Garden on May 20, 1806. Other publications of music from the late 18th century indicate that Harrington might have been local to Bury St. Edmunds.

Thanks to the help of Bobby Derie and Dave Goudsward, I’ve now seen a newspaper advertisement of the sale, which lists that the person is a “well-known collector” of, among other things, “magic, witchcraft, [and] astrology,” and who owned “curious manuscripts” on many topics. It’s not 100%, but I feel pretty good about pursuing this particular lead.

As to the 17th century original author – who knows?

Published in: on November 5, 2019 at 3:17 pm  Leave a Comment  

The Book of Three Wizards: A Brief Prospectus

One of my readers asked me if I could give him a summary of what my next project from Llewellyn will be. I quickly searched Papers in hope of giving him something that would quickly fulfill him, only to realize that I hadn’t actually written too much about the book here anyway. It’s time to correct that.

My latest project is a transcription of the Bodleian Library’s manuscript Douce 116, one of the more unusual ones I’ve encountered. Whereas you can find many of these manuscripts have been previously microfilmed or digitized, Douce 116 somehow made it with very little attention. One likely reason is that Francis Douce, the nineteenth-century librarian and antiquary who collected it, had only this work of magic in his collection, although he did collect other books on witchcraft and the like.

The main body of the book is a magical miscellany of the late seventeenth century, at the time when magic and astrology reached the heights of their popularity just before falling into disfavor in the following century. Likely written by a cunning person in Worcestershire (I’ll get into that in the introduction), it shows the influences of the magical publications of the mid-seventeenth century, including Agrippa, the Arbatel, and a likely reprint of the Discoverie of Witchcraft, while also displaying a keen interest in the lore still circulating in manuscripts.

A century later, the book fell into the hands of another occultist who did quite an amount of writing of his own in the book – paginating it (although he couldn’t keep that straight), annotating the other author’s sources (sometimes incorrectly), and filling the front, back, and blank spaces with all manner of mystical formulae and bits of wisdom.

After that, the book apparently passed into the hands of Robert Cross Smith, the first “Raphael,” who possessed it in 1825. He bound in a few pages of his own, including a reference to the president of the mysterious society of the Mercurii. Finally, the manuscript passes to Francis Douce, who upon his death in 1834 leaves it to the Bodleian.

I’m working on a second correction of the text right now, and James Clark will be handling the illustrations again. This will likely be a few years down the road before you catch a glimpse of it. While you wait for it, you might read a couple of my recent articles (available here and here) for which it served as an excellent source.

Please put your questions in the comments, and I’ll do my best to answer them.

Published in: on October 2, 2019 at 12:16 pm  Leave a Comment  

Review: The Red Dragon / Dragon Rouge

The winner of my recent Twitter poll for what review I should conduct next was the Black Letter Press edition of the Dragon Rouge, or Red Dragon, the successful outcome of the publisher’s recent IndieGogo campaign. According to the publisher’s website, the volume is sold out, although they’re taking pre-orders for an English translation of The Black Pullet, so this may simply be of interest for second-hand buyers.

If you want some background on this book, along with a comparison of other English editions, including the Grand Grimoire from Trident and the Red Dragon from Teitan, I’d suggest looking here.

Before I begin a review, I like to divulge any conflict of interest that I might have when it comes to a book. This is particularly difficult here, as the editor and translator, Paul Summers Young, was the former moderator of a Facebook group that I left due to what I viewed as his inappropriate language to other members, with the same being directed at me after I left. I personally don’t feel that it will affect the review, but you should aware of it as a possible influence.

Further, as I’ve admitted in the past, my French is nowhere near as good as it could be, but having an original text on hand is important when reviewing such a work. This is complicated due to the existence of several Dragon Rouge texts of various sorts in French. In the end, I looked quickly over the French Dragon Rouge text from Joe Peterson’s CD-ROM, which I recommend to anyone who hasn’t purchased it yet, and the Trident and Teitan Press editions.

(I also turned up this 1846 manuscript digitized from Porrentruy’s Bibliothèque Cantonale Jurassienne, N.C.1. It’s released under a Creative Commons Attribution Non-Commercial license, so have fun.)

First, let’s take a quick look at the cover:

Red Dragon

The brief introduction covers the history of the work and plays up the book’s status as a “work of outsider art”. If you want to learn what version of the book this is based upon:

This English translation aims to capture the tone and substance of the 2019 Black Letter Press Italian edition with close reference to the 1823-ish French edition, which is commonly spoken of as the earliest extant under the name ‘Red Dragon…’

I’m not sure how exactly to read this, but it sounds as if the primary source was the Italian translation rather than the French original, with the latter being checked as Young went. We’ll get back to this later.

The centerpieces of the Red Dragon, as with other editions, are two sets of procedures intended to bring the magician into a pact with a spirit – with the preferred one in both cases being Lucifuge Rofocale, one of the chief servants of Lucifer. The first one is more involved, including the creation of a magnetized “blasting rod” and a kid-skin circle, while the second does not require these accoutrements but provides fewer protections for the would-be magician.

The IndieGogo campaign page notes that much research was done to ensure that the Italian edition from which this was taken was “new and more complete,” Comparing this one to Peterson and the Teitan text, however, shows that the Black Letter edition is missing some of the short operations – such as the creation of the Hand of Glory in the French version, or the meeting with the three spirits at evening in the Italian. The work might have come from a text to which I don’t have access, or the editor may have taken elements from both texts and combined them. I’d be interested to know the answer.

We might be able to answer these questions if the book provided either the French or Italian texts, but neither are present. The text also lacks most of the rest of the other apparatuses some seek in these texts, such as bibliographies, notes, and translations for the Latin passages. I don’t think this will bother most readers, however.

As all three English translations are currently unavailable, that places them at about the same level of accessibility for potential buyers. Personally, I think that the Black Letter edition has the most impressive presentation, but I’d prefer the Teitan Press edition for its content, despite my concerns that the editor might actually be Simon. I think there’s certainly room for a publisher to come out with a beautiful critical edition of this text.

Published in: on September 26, 2019 at 2:18 pm  Leave a Comment  

Review – Making Magic in Elizabethan England

We’ve had some interesting grimoire releases over the past year, and I’ve been remiss in reviewing them. I’ll see what I can do to catch up, beginning with Frank Klaassen’s Making Magic in Elizabethan England: Two Early Modern Vernacular Books of Magic, which is part of their Magic in History series. This is particularly welcome, as it is the first set of longer texts published by Klaassen, who is an associate professor at the University of Saskatchewan and one of the few academics working on early modern magical texts.

The main body of the book consists of transcriptions of two books. The first, Bodleian MS. Additional B.1., is a late sixteenth-century text, with most of its contents being shorter charms dealing with healing, protection, and theft detection. The second, British Library Harley 2267, was completed in 1600 and includes more material about summoning spirits, synthesizing and expanding upon information from Agrippa’s Three Books, the spurious Fourth Book, the Heptameron, and other sources, all of which were not printed in English at the time.

The first text includes extensive passages in Latin, which are provided in columns with the translation thereto. The original spelling has been preserved, which will make the book more appealing to scholars and students but may make for a more difficult read for laymen. Each is extensively annotated – with endnotes, unfortunately, instead of footnotes which could be referred to at the same time as the text. The illustrations within the text are redrawn in the same way as my readers have seen in Oberon and Of Angels – even James’ choice of font seems to have been used here. Both works are prefaced with an insightful introduction and notes on the manuscript and followed with a table giving the sources of Harley 2267 and a bibliography.

I’d like to share with you one of the passages from the second text dealing with the terrifying illusions spirits will show the magician, which gives you as accurate a depiction of the text as WordPress options allow:

Also many tymes horribles sightes will apeare to feare ye from thy worke, as to see thy father or mother slayne afore thy face, or to thinke ye waues of the Sease shoulde droune the, Or Serpentes, lyons, bulles, beares, or dogges to deuour the, Sumtyme ye judge of mayor of ye Toune to cum vnto the, all which are but illusyons… (pp. 110-111)

I find the notes to be particularly illuminating, even though we are sometimes interested in different aspects. For example, Klaassen places more emphasis on the liturgical connections of the text, and I certainly feel this is a direction I want to pursue more in my future works.

On the other hand, he does not always emphasize the elements that I might. There’s nothing wrong with this at all, but it’s worth noting. For example, the first manuscript begins with making two wax images for catching thieves – similar rituals appear in Of Angels and my new Bellhouse book. The introduction notes that this is probably adapted from astrological image magic works, to which I would add that it is quite a robust and enduring operation. Further, the rite includes the names of two suspected thieves, suggesting that the copyist (or that of a previous manuscript in the tradition) was oriented toward practice rather than simply curious.

I do have one reservation for recommending this book: the price. The work is $89.95 for 150 pages of content, so this is priced for libraries more than casual readers. Further, the use of parallel texts may mean that the work cannot be converted to a cheap e-book format, as was done with Klaassen’s previous work, The Transformations of Magic. I can certainly hope that a cheaper, paperback student edition will be available soon, so more people can appreciate just how good this work is.

 

Published in: on September 10, 2019 at 1:02 pm  Leave a Comment  

Early September Wrap-Up

So, I’d like to get to a more regular blogging schedule. We’ll see if that holds.

  • NecronomiCon was great, as always. I had two enjoyable panels, one on Delta Green, and the other on horror in games, featuring Sandy Peterson (creator of Call of Cthulhu), Ken Hite (creator of Trail of Cthulhu), Shane Ivey (author of the Delta Green RPG), and a couple of other up and coming creators.

 

 

  • My work continues on The Book of Three Wizards. I’m double-checking the text and creating transcripts of the various diagrams for James. We hit a slow portion, due to the first author’s decision to incorporate some incredibly complex astrological charts, the import of which we’re still debating. There were over nine thousand separate elements I had to check for accuracy, but that’s past.

 

  • Did you know that Golden Hoard is releasing Daniel Clark and Stephen Skinner’s Ars Notoria soon?

 

 

  • Pam Grossman and William Kiesel of Ouroboros Press are presenting a seminar on “Collecting Grimoires, Spell Books, and Witchcraft Tomes” at the Brooklyn Antiquarian Book Fair this Saturday at 2 PM.

 

More to come soon, I hope!

Published in: on September 3, 2019 at 3:41 pm  Comments (1)  

Swedish Black Books and NecronomiCon Appearances

This announcement from Revelore Press appeared this morning:

Svartkonstböker: A Compendium of the Swedish Black Art Book Tradition

by Dr Tom K Johnson
Folk Necromancy in Transmission Volume 4

ISBN: 978-1-947544-22-2; Sept 2019; ~650pp.

Svartkonstböker is a fully revised edition of Dr Johnson’s 2010 PhD Thesis Tidebast och Vändelrot: Magical Representations in the Swedish Black Art Book Tradition, featuring a thorough, path-breaking study of the black arts book tradition in Sweden, as well as English translations of 35 Swedish black art books ranging from the 1690s to the 1940s, including over 1900 spells and a robust index.

The late Dr Johnson always wished that his work would see print publication in its entirety. Other publishers have offered to produce this work in two volumes, prioritizing the spells in the black art books over the scholarly apparatus that contextualizes them. Here Revelore presents the work in full, comprising over 650 pages of material. Minor errors from the PhD manuscript have been rectified, and archival images of the characters, sigils, and illustrations have been restored in high fidelity. This is the definitive source work for the Swedish magical corpus of black art books.

If this fulfills this mandate – and it should – it will be amazing. Both paperback and collector’s editions will be available. The paperback is priced at $50, but 650 pages makes it well worth it.

I will also be returning to NecronomiCon this year, and I’ll be on two panels. One is Delta Green based, Sunday at 9 AM. The other is a panel I’m moderating “On Gaming the Weird,” with Sandy Petersen, Kenneth Hite, Fiona Maeve Geist, Shane Ivey, and Badger McInnes. You can see the full schedule here.

Published in: on August 5, 2019 at 10:28 am  Leave a Comment  

Enodia Press, Books in Paperback, and Treadwell’s Appearance

Wow. I really missed posting for June and half of July. I should mention that I’m on sabbatical and moving around a bit.

The good thing about Enodia Press is that it makes German Faustian literature available in English translations. The bad thing about Enodia Press is that you’ve had to deal with the Mexican post office to get their books, with all that entails for shipping and a loose definition of “tracking.”

Fortunately, Nicolás Álvarez has decided to circumvent them by beginning to make Enodia Press books, starting with Magia Naturalis et Innaturalis, available in paperback through Amazon. In his email to his customers, he makes it clear that he was not able to keep the illustrations therein full color, but these are only one aspect of a fun and fascinating book.

In general, I’d encourage readers who’ve wanted one book or another and found it too expensive for their collections to double-check. I’m seeing a good number of such works being re-released in paperback at cheaper prices.

For those lucky enough to be near London, I’ll be presenting on “Summoning Spirits” at Treadwell’s the Friday after tomorrow. Come by and purchase / bring books to be signed.

Published in: on July 18, 2019 at 4:02 pm  Leave a Comment  

Miscellany

Many things are afoot!

  • I’ve been working on the next manuscript for Llewellyn. I’ve done a first pass, save for a few pages I need to re-shoot, and now I’m running a double check on the original before I modernize the language.
  • We have an Indiegogo campaign for a new edition of the grimoire The Red Dragon. The Italian publisher, Black Letter Press, has fulfilled one previous crowdfunding effort, in case you’re interested.
  • Stephen Murtagh has released an Authentication of “The Secret Grimoire of Turiel.” Feel free to read it. I have two brief points. First, it’s probably not a great practice to reproduce most of the illustrations out of a recently-published book, even for purposes of scholarship, when a few would do. Second, proving that Turiel has a pedigree back to Hockley is not the same as proving that it was acquired from a priest in the Canary Islands in 1927.
  • The Glencairn Museum is putting on an exhibition by our friend Patrick Donmoyer on barn stars. Not making it to eastern PA any time soon? You can download the exhibit catalog for free here!
  • Apparently the PSU book for which I wrote an chapter on the Necronomicon, Magic in the Modern World, was released in paperback in December. Halving the price should make it accessible for more readers.
  • I bought The Witcher 3. Jury’s out as to whether this was a mistake. Also, I romanced Triss without meaning to.
  • I’ll in Europe, generally speaking, in July.
Published in: on May 25, 2019 at 6:38 pm  Comments (3)  

Review – Faust’s Key of Necromancy,

Enodia Press of Mexico has continued to put out many editions of the German literature attributed to the magician Faust, much of it translated into English for the first time. The most recent of these is a two-part work, the Key of Necromancy, Volume 1 and Volume 2. (Volume 1 is currently out of stock.)

The Key is derived from three different works, likely of the eighteenth century: the Nigromantisches Kunst-Buch,  Der Schlüssel vom der Zwange der Höllen, and Cornell’s 4620 Bc. MS. 19. Content from the three of them has been melded together to make a single text, although variants are noted – especially in the spirit lists, which we’ll certainly get to.

A few notes on the physical books. The first volume is bound in red, and the second in black. Both are impressive, but it’s unusual to bind a two-volume work as such. The first volume often does not indent or space between paragraphs, which makes it slightly harder to read. This is rectified in the second volume, and perhaps this will be corrected if the first volume is re-released.

The first book begins with a brief introduction that delves into the spirituality of the magician, with special emphasis on alchemy.  I’m somewhat skeptical about how much our present-day emphasis on the spiritual qualities of alchemy really carries over into the era in question. Certainly, I’d like to see it better supported than what’s been done here – then again, that’s not what it’s here for, right?

The first of the two books is a single long operation, requiring the consecration of the book, a magical rod, and other tools, along with a circle and multiple conjurations. This is mostly complete, although what constitute the sigils of Solomon are not clear in any of the books consulted. The overall goal of the operation is to call a spirit into a bottle to be questioned, and also to gain control over two subsidiary spirits who can perform rituals at their superior’s direction.

If part of the thesis of your experiment is to trap a spirit in a bottle where it can’t do much, you’re going to want a good selection of spirits to summon. This is an interesting list, because it starts very similar to the list popularized in the Book of Oberon – three kings (Lucifer, Beelzebub, and Satan), then four kings corresponding to the directions, and then subsidiary spirits with different functions. Nonetheless, the list itself diverges quite a bit from Oberon, and it also includes sigils for many of the spirits. This is the section that includes the greatest reassembly of material from all of the manuscripts.

The second book is devoted to a selection of shorter miscellaneous rituals. There’s a conjuration of treasure to come to the magician, with minimal involvement from other spirits. A conjuration of the spirit Waran or Floron invokes not only with the names of God, but by seasons, landscape, flora, and fauna as well. The magician can create candles for mystical operations, or speak to the spirit Sybilla (which is labeled as male in the original German and female in this book). I regret that the operation for the pygmies wasn’t included as well, even if it is present in Magia Naturalis et Innaturalis. Still, those who like these shorter operations should be very happy with the book.

The books are also provided with explanatory endnotes – though not always as comprehensive as I would like – and bibliographies, but no index. The lack of a shared index or table of contents makes finding particular sections and operations somewhat unwieldy, which can be difficult when working with two volumes of nearly four hundred pages total. Also, to be clear, the German text is not provided, but if you check the links above, you can obtain most of it with little effort.

I wouldn’t say The Key of Necromancy was my choice for someone’s first Faustbook. (Come to think of it, having a ‘My First Faustbook’ board book for infants sounds like a horrible idea waiting for an enterprising publisher.) I’d say Magia naturalis et innaturalis or the Mightiest Sea-Serpent might be better selections in this regard. The content will be much appreciated by those who already have those volumes and wish to explore the Faustian tradition.

Unfortunately, the release of two volumes means that the overall price bumps up to $134 plus shipping, which seems quite expensive for what is presented. I’d like to see a combined edition at a cheaper price, but many collectors will be happy with this nonetheless.

Published in: on May 3, 2019 at 6:51 pm  Leave a Comment