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BLACK RUNA

Being the Shorter Works

STEPHEN EDRED FLOWERS

Produced for the Order of the Trapezoid

of the Temple of Set
(19854989)

Printed with the Imprimatur of the
Order of the Trapezoid

Runa-Raven Press 1 995

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Contents

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Introduction................... \\

§f Mysteries of the Graal (1985) ../.!!!_V.V""/."//.] 21

i ■ On the Way of Wotan and the Left-Hand Path (1985)'.**.°.'.*. '*25

I The Command to Look (1986)........ 27

§. Trapezoidal RunoJogy (1986).. ..........................7""""°*° °33

Runes and Angles (1986)............... _**" 39

■ Graal Mythos in Old English Runes? ( 1 986). ............ .. 41

j§. Runic Origins of the "Peace Sign" (1986) •-.-.......... .

#'■■■■• ■ Set and Wotan (1986).................. """" ' '" 4^

I Walburga in Khem (1986) ...3.3.3.3.7"**'°''''''**°'' 49

W^r" Trapezoidal Cinema (1987)......... 51

# ^-t- Austin Osman Spare and the Track of the Trapezoid '(1987)**° 55

fe Magie und Manipulation (1987)..... 57

I A Root of the "Occult Nazi Mythos" Review of The Occult

I" :i ^ Cflas« of the Present War (1987) 65

! infernal Contraptions (1987) .....................

J GcWr °* •&"**'" (1988)..................37'"*'"°**^*""°**° 08 ' 8 °'"** 69

1 x Nazi Occultism Revisited (1988).Z*ZZ*r*'*****'***"* S °"****"' 71

} On the Choice of a Human Sacrifice... 0989)"'"''* '" 77

Bibliography........... /.».......... ......//

Notice......... •■•—••— .............. ....5j

j ........................... ............. *.*****, 00ffiS990ffl OJ

■^

Although it would h

■'» Sa»la S £?/ "* "M e vis ,1 apea,id *™« a W<S° M ? f

Jt was from this timp f ' Magia ^S to

do with the High

th~ r^**m ooole is p;j?w? m auui3 °* toe TVm~i 1Ui "te Hi>h

the word "Black" ^ ed ^ /a ^ Runa rw mph ° g

cosmos. ROnS* * e ^ostS^™ in the core deD l S " Ds '
^d discovery of fh ? S f* Se of *e mjSriT u yond «* lintf *<?**

E3B

.. J ^ " II

B The works presented in this collection were originally written in the

■^ context of the Initiatory philosophy of the Temple of Set. In order for

• : readers unfamiliar with this philosophical context to understand the

■»* contents more precisely, certain terms must be defined and a true context

■ established. The potential for confusion is great-— but so is the possibility

■■''"■ for understanding.

»-■■■■ This work as a whole has been offered to the world, on a limited basis, in

U the hopes of developing a greater understanding for the truth of the Left-

it Hand Path.

I Much of the following with regard to definitions of technical terms has

I been adapted from my manuscript entitled Lords of the Left-Hand Path: A

I History of Spiritual Dissent.

I Before one can embark on a path or a way, one must orient one's self in

| the universe. The universe is the totality of existence both known and

unknown. This is a complex model, divided into at least two components:
1) the objective universe and 2) the subjective universe. The objective
universe is the natural cosmos— or world order. This is essentially
mechanical or organic, i.e. it is ruled by certain predictable laws
manifested in a time/space continuum. The objective universe, including the
) laws governing it, can be equated with "nature" as well as with "God" in

the Judeo-Christian tradition. All of natural science as well as orthodox
theology is predicated on the concept that these laws of the objective
universe can be discovered and quantified or described in a purely rational
manner in the first instance or by "divine revelation" in the other. When
considered closely it is evident that what is usually referred to as "God" in
orthodox religions is actually identical to that which he is said to create—.
the natural /mechanical /organic order— or cosmos. It might also be
pointed out that there has generally been a popular but sometimes
misleading distinction between the concepts "mechanical" and "organic."
On one level they are the same in that both are governed by predictable
laws. A clock-work or the human body are both ruled and maintained by
certain mechanical structures which allow them to function in their
environments. At another level there is a distinction between the
mechanical and the organic in that the organic model has the ability to
propagate and mutate its mechanical structures to ensure its survival This
is possible because there are coded mechanisms within the organism
expressly for this purpose (DNA) and because the malleable molecular
structure of the mechanism allows for these mutations.
The subjective universe is the "world" of any sentient entity within the
I ^ universe. There are as many subjective universes as there are sentient

beings. The subjective universe is the particularized manifestation of

seem governed by the same natural/3w a S™ ^ UD1Verse does not
objective universe— in fart ,hic ;, T ^ 0rgaiuc laws as the

from the limitations of te^^g^™"*"* ^ -■ free

At this point it might be worth pointing 0U S the t? dimensions -
objective/subjective have nothing in common with J .T™ •
accurate/inaccurate, or exact/inexact vS ? * e &stmctl0n between
projected onto the ems The Se tf P ^ US3ge "^ have
accurate and exact m^olTcS^SSlw ^^ ° f far m ° re
reading and understanding o£2S ? i^T 6 univer ^~ your

subject is the reader, i.e. that wE reads an K S™.^ 1 terms the
read. The subjective universe is calwt*'/^ 2* ° bject 1S ** whi * is

because it is not bound by natural laws C 2 m ° St t0£al delusion

*^^Ki^^r bas]caIly indicated ^

universe upon the objective S« JS^ n ^ in &at sub J ective
those made by art/craft) are h^ 2r v ^cmlly created structures (i e

from the na^aUosm^^ ^TTrn^^ 8 SCparate "*» *?*"
political institutions Animals !l nf , f PFamids ' P oems > or
organizations, are tounTbV nZ?»5 h * my haVe Com P lex soc ^l
wolf-pack, no matterTin one pm o? the^ w ° rgaDiC P^Snunmuw. The
million years ago has the sam/f • , ! W °l M or another > n °w or a

find an/two hS^SSSSSS ST" *£ Y T "* look * va "> *
Anything which is the product n^fc ^ *? absoIutel y identical,
collective - will ^Z'ZlT^T* "*«*" ~ ^^ OT

un^- SS2SS2S? a 7 "* PhC — <* <* subjective
which all the Acute SK£ fi "t form or general principle from
philosophically refined nfTif ? , ? e denved - ^ ^e most

principle oSKjSet^^ ^ ^ Path this &st
the ultimate deity of (he S H^h p Tk ? d u * e P™ 6 of Darkness"-
initiatory framework it fwj£S f^ fa the Tem P le of s <* the
were created, Snci^^tn if^^ printed in this co » ecti ™
But to be more precise Ms I th^ lden 5 ied , with *e Egyptian God Set.

non-natural universe which obecXe^h", ^ ".f 180 m elemem of *e

wxucn oojectively belongs to the universe itself. In

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this way the Prince of Darkness can be seen as an independent sentient
being in the universe because this is the very principle of that quality in the
universe. Humanity is the only species we know of which shares that
IE ^ ■ quality.

^p; The central question now becomes what is the way in which this

Hp W^N- conscious, free soul is going to relate to, or seek to interact with, the

|JJ objective universe or the universe as a whole. The Right-Hand Path

!l| ,.';;;. ' answers this question simply by saying that the subjective universe must

I 111 ■ ' harmonize itself with the laws of the objective universe— be that

ytfeil envisioned as God or nature. Humanity is to seek knowledge of the law,

H^fijr m ^ tiien a PPty itself t0 submitting to that law in order to gain ultimate '

I ' union with the objective universe, with God, or nature. The Right-Hand

|j| Path is the path of union with universal reality (God or Nature). When this

f 1 * union is completed the individual self will be annihilated, the individual

LI will become one with the divine or natural cosmic order. In this state the

P ego is destroyed as "heaven" is entered or a nirvanic existence/non-

! J existence is "attained." This is clearly the goal of all orthodox

y Judaic/Christian/Islamic or Buddhistic sects.

f - ; ^ Left-Hand Path considers the position of humanity as it is; it takes

[ 1 int0 account the manifest and deep-seated desire of each human being to be

I a free, empowered, independent actor within his or her world. Hie

f ) pleasure and pain made possible by independent existence are seen as -

1. 1 ' something to be embraced and as the most reasonable signs of the highest,

I most noble destiny possible for humans to attain— a kind of independent

| \ existence on a level usually thought of as divine.

! Just as most humans go through their natural, everyday lives seeking that

:| which will give them maximal amounts of such things as knowledge,

j power, freedom, independence and distinction within their world, those of

us who walk the Left-Hand Path logically extend this to the non-natural
realm. We reject Right-Hand Path admonitions that such "spiritual
behavior" is "evil" and that we should basically u gei with the program" —
of God, of Nature, or whatever —and become good "company men." The
{ self awareness of independence is seen by many as the fundamental reality

1 of the human condition— we can accept it and live, or reject it and die. By

accepting the internal, known reality of human consciousness as eternally
i dynamic — ever moving, ever changing — existence is embraced; by

rejecting it and embracing an external, unknown reality of God/Nature, an
I eternally static— ever still and permanent — existence is accepted. From a

certain enlightened perspective, both paths can be perfectly good from a
moral perspective, it is just a matter of the conscious exercise of the will to
J follow one of these paths in an aware state without self-delusion.

Essentially, the Left-Hand Path is then the path of non-union with the
. . J objective universe. It is the way of isolating consciousness within the

then made to harmonize itself wiRe wfll of rh^fnX'fT UmVerse is

certainly alleocentric- "other-centered") iTtl^tST **
psychecentnc, or soul/self-centered. Those within the? rf, h!'h d u
argue over the nature of this self/e^o/sou IbTmat fhVf J f , Pa * may
epicenter of the path itself seems unCuted An et * i 1S * e

Hand Path. This amounts to an immortahty of the independent Sf
copiousness moving within the objective^versetSracSJ with it

White

in popular jargon that they might be 7aid t Xav tZstZtV^ ** m
S Dg ? T 8 - F ° r my pUrposes 1 wi » ^store mem to a IneanlnLl

J%:s g z^z£ ss r versaUy accepted by acade --

paranormal factors These farfnrc ^mT? f °* com munication with
universe of the operator MaS?« I * ma ^ ° r 0utside &e subjective

itself with his ^yoJ^XZlSS^X*" 8 '- t0 harmonize

and pursuing aims in harmonv whh th£l ST m ° D Wlth the universe

pursuing self-oriented aims. Stnicturally WhSflvlal h™ T^ ^
with religion as defined above while R^TmI 8 3S mUCh ln common
and of itself. This is why Sc^ffi 3 |u [ S m ° re purel y ma g icaI ™

i.S

of the practice of AntinSariS, ^ ' ^ ° D ^ Self ^ B) * at
of thought proposed bvtteZJfH? ^ ^ IS com P lex: ™ e sy«em

rS:: e ^ n oS ently «"*« i-Hect and L

L l 3) Initiation

2) ? e t V en U iS m 7 ?* enli S htened ^tellect is that of
a given individual, not a collective body

Initiation- the enlightenment and strength of

tSf^Z eSS fl f ° r thC desired State of evolution of
self are attained by means of stages created by the will

It ST"™- not because he or she was "<***- to

begin with.

ftf C 7 praCUtl0I,ers of * e Left-Hand Path see
themselves as using their own wills in a rationally

cautl^f 6m ° r SpiritUal technol °gy desi g fl ed to
Stri erSe aronnd * em to conform to their self-

willed patterns.

«^ iu gdin me Kind or inner independence nere<:«arv iw a^ >u
initiatory work present in the first criterion ^ r 3 ** *f . other
criterion often manifests itself KS2W l*" SeCOnd
reversal of conventional nonnativ^?S f S^^^ ,,,ip ^
becomes "pure," "darkness" becomes St " g ' mpUre

Literally antmomianism implies something "against the i a «, " n„, a
practitioner of the Left-Hand Path k not a ^ J 7 , ? ' But * e
or she is bound to break the coSr i« r m ^ USUal sense - He

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This latter characteristic of the true Left-Hand Path is the chief cause of
its misunderstanding, not only for those on the outside, but for some who
would follow this path as well It takes an enormous amount of spiritual
courage to persevere in the face of rejection by not only the world around
us but by elements within our own subjective universes as well. Many
break under the strain and fall away from the aim and sink back into the
morass of cultural norms.

In summary, to be a practitioner of the Left-Hand Path, one must at
some point reject the forms of conventional "good" and embraced those of
conventional "evil," and have practiced antinomianism, as part of the effort
to gain a permanent, independent, enlightened and empowered level of
being. This self-deification is not sufficient without this "Satanic" (i.e.
"antinomian") component which acts as a guide through the quagmire of
popular sentiment and conventional beliefs.

To my personal way of thinking today, the philosophy of the Order of
the Trapezoid and the Temple of Set need not be described as "Satanic."
However, for initiation on the Left-Hand Path to be effective for those who
have just begun the Work on that path, the antinomian aspect of the Work
does Need to be fulfilled by some means. This antinomianism Is the only
real reason to make use of Satanic imagery at all— and recent history has
shown that this Imagery, along with that connected to National Socialism, Is
still unmatched as a way to arouse the sense of the taboo and forbidden in
our culture. This is the indispensable usefulness of this Imagery, and this is
the root of our interest in things of a "diabolical" character.

The study of the political phenomenon of German National Socialism
(1933-1945) has drawn considerable attention to the Order In the past.
Interest in this phenomenon Is entirely theoretical and structural — and
Magical — and has nothing whatsoever to do with the racial dogmas of the
Nazis. The Order of the Trapezoid has Knights and Dames of a myriad of
racial and religious backgrounds. But it must be conceded that the imagery
does hold an awesome power that many do not suspect-— more than once
we have seen Initiates "spin out" and loose control of themselves and their
own Initiations due to the volatile power of some of the symbols and
technologies with which we Work.

In case you hadn't heard, and contrary to what most modem-day
peddlers of "occult philosophies" try to tell you— magic is not easy, it is
the hardest thing for humans to do well Moreover, Black Magic is not
only difficult, it is also dangerous. It Is dangerous precisely because It
works with such powerful Ideas so directly. Great and difficult tasks call
for strong measures. But this strength must be applied with the greatest
precision and the highest understanding, or the Black Magician can end up
like Humpty-Dumpty.

■

1 I

The Order of the Trapezoid is a magical concept, a magical body that
exists beyond the limitations of time and space. For example, it was Skly
perceived in the dream-scapes of the American fantasy and science fiction

ron m his tale Haunter of the Dark." Anton LaVey conceived of X: Order
of the Trapezoid as the secret core of his Church of Satan. In 1 983 or in
the Year XVIH by our internal reckoning, Michael Aquino reconstituted
*e Order as a Working Order of Chivalry as a result of his now famous
Wewekburg Working on October 19, 1982. Ttiis Working was conducted

u H ul° f *? SlaiD ' 0r WaUlalla ' of * e Wewelsburg, a castle used bv
Hemrich Himmler as the magical headquarters of his own "Black Order "
In the Charter of the Order of the Trapezoid, issued by Michael Aquino
on January 30, 1 983, the Grand Master defined die Order thusly

The Order of the Trapezoid is an order of knighthood characterized bv strict
personal honor and faithfulness to the quest for the Grail. The OTr I a
knighthood in that its members are pledged to traditional chivahic virtues as
appropriate to each situation encountered. By honor is meant .Sl

™fw d res P° nSlb f y P rior t° ^sonal comfort, convenience! « advance
TJus honor is known by ones faithfulness to the Quest for the Grau E fcthe

For whomsoever understands these words a gate shall be opened.

IV
A few words must also be said in conclusion about the editina of the
manuscripts of the articles which appear in the following pages They have
all been revised only m minimal details from their form as they first
appeared rn the pages of Runes, the internal organ of the Order of the
Trapezoid. Revisions have been for the sake of clarity or usage. Additional
information being added in 1 995 appears for the most part in square
brackets l ] or m notes appearing as "Commentary" after some of the
articles. Information m parentheses was so placed in the original work The
articles are presented here in the order they were published, without
regard to subject matter.

It should be noted also that this does not represent my total production

S?^ 7 T S* P ^ CS ° f RmeS f0r ^ y ears covered - Contributions
ol a ritual or Working dimension have been omitted as reserved for intra-
member distnbution only, as have other writings of an Initiatory or

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TERIES OF THE GRAAL

{Runes 111:5 1985)

A curious mystery recently came to my attention while I was nerusina

bv 1 ^ w tS^T 818 - ? aB , ardde entitled " Wolfr am's cafe lapiS"
b l £. , S 5, haf f the author claims to have found the Graal! He identifies
Wolfram s Graal with a certain stone chalice now found in the Cathedral of
Valencia, Spain. His reason for doing so is the strange "Arabic" inscription
found on the bottom of the object. The inscription appears: inscn P t,on

S>J* j^

and is transliterated as "ALABSIT SILIS." Schafer identifies this with

2fo P ^w \T SU eXlUs (Ladn: lapsit exilli ^ &at occ ™ in Book IX, section
469 of Wolfram von Eschenbach's epic poem Panival. Thus he identiS
the stone with the stone chalice. So far, it might seem, a plausible
assumption. But is this really the Graal itself? And if it is — or even if it is
not — what is the significance of the inscription?

In a footnote Schafer reports a curious fact— one that no doubt would
raise an eyebrow of Dr. I. lones. In trying to convince the reader that the

Secoon 471) Wolfram says that the Graal was brought to Earth by angels
and fliat this chalice of Valencia originally had a base upon which S
angels were carved. But then, in an aside within the footnote, he tells us
that base was "lost" in 19361 Now we need not give much of a Wstory

for T- V Wh ° ~ fT ° m l933 t0 1945 ~ **&* have been responsible
.or ft. disappearance or certain objects in lands over which they had

total or partial control! y

JnM ^^!f UlatiV u h yP°* esis * at the Graal-stone is not the chalice, but

MS? , D W ^™ * e b3Se - ™ S idea had occurred t0 me ! °ng before

1 read this article. The base upon which the chalice stands is the true Graal-

die chalice may even be a sort of "decoy" object. But those who know - '

the Wissenden - are not fooled by the chalice, which is symbolic of the

uraal force but not an actual expression of it. Wolfram was not duped —

Zt ^fT/^' nei * er were those res Ponsible for the disappearance of the
base of the Valencia "graal." [Whether this base actually contains or
contained the Graal-stone is one question; whether those who took it
believed this to be the case is another.]

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Now what about the inscription? It seems that Schafer is coirect in hie
exil{l)is. This could refer to several thinoc- m th* ^ ^ Ul ^psir

completely "other" [of which the chaLe was a symbol/ XX? 8
possibility is favored by Schafer. We would favor me secnnH rl, ■

„v S i"f Ik 1 L-L qUIte pkUSibIe t0 COmbine Possibilities two and three and
say that the hidden stone in the base and the "philosopher? sZ^l ™
and the same. This is the solution I ultimately CSy «I t
= borates an Ruminative Working in wh/ch I eatfffi'SSS.

Wolfram/Kyo

™, (! , _ MmMy of „ K0 . AnBdca „ ^j,'^* ^^

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Dee had more than one of these black obsidian min™ tt,

Die whereabouts of the stone are unknown uraaJ-Knights.

disappointment the non-initiate, who would not teSwJ u
this particular substance Ian ?££ *"* ^ * ^ t0

life

AND THE

(/fK/ies m:5 1985)

■J The flrst Principle of the Left-Hand Path is non-union— or more

rv correctly and positively: continuing, (dynamic) independent evolution Thk

m is the meaning of Walhalla.

&■ „ u ™«P, rinci P Ie of * e Left-Hand Path is opposed by the Right-Hand

m "t 1 f 6S ra/0n ~ Le ' teiminal ( static > dependent non-evolution

m The followers of the Right-Hand Path seek servitude and eventual

absorption by the thing they call God. This is not the time or place to
I delineate what the Right-Hand Path truly is. [It is so confused that even its

own followers are often unsure of its nature.] What we want to show here
is the Essential Left-Hand Path character of the Way of Wotan
characterized by the teaching of Walhalla.

it A ° n %°! * e ^ m P lest wa ys to determine whether a path is of the Right-
Haiid or of the Left-Hand is to examine the presumed final destination of an
adherent s soul or Essence. This is where the confusion of the Christian
Right-Hand Path is most conspicuous. On the one hand (pun intended) thev
desire union with, and servitude to, their deity. On the other hand — and
on a deep-seated, perhaps genetic level — they desire ego survival "in
heaven. But what are they to do with their immortal egos? What is their
purpose / No orthodox answer gets us much beyond harp-strumming (=
inactivity, stasis). The Left-Hand Path is characterized by activity and
purpose— m this life and in any that is to come

• <u '"f ? dim Vf 1 ~ or * e Way of Wotan — of * e ancient Germans
is the only historical example of a national school of the Left-Hand Path

I o simplify, without being inaccurate, the ancient Germanic peoples

believed in three possible destinations for the souls of the dead- (1) Hel (2)

vt-m^^f f 1 ( ^° Ugh " rebirth "X and (3) Walhalla (Old Norse '
Valholl). In Hel they "hve" in a static state, being slowly reabsorbed into
the cosmo-organic mechanism of Yggdrasill. Hel, which simply means "the
enclosed hidden place (of death)," is the normal destination for the vast
majority of humanity. The Erulians, those on the path of becoming —
signified by the shining power of the ^Esir from whom they are descended
-reside only temporarily in Hel, after which they are reborn into Middle
Earth, the world of humans. Only there can they carry on certain Works
and continue to evolve. The majority of those reborn wish to continue to be
reborn in Middle Earth, as this path is generally considered to be a good
thing. After a cycle of such rebirths, the refined and empowered Self of the
Erulian each unique and recognizable, enters into Walhalla within the
walls of Asgardhr to become part of the Einherjar. Wotan's cosmic army
No dogma has ever been developed about specific numbers of cycles etc

1.
i

If THE COMMAND TO LOOK

m {Runes IN :3 1986)

■ In Ae Charter of the Order of the Trapezoid I read that one of

9 Anton La Vey's primal source works for the principles underlying the Law

J oi to Trapezoid and hence the Order itself; was a book by William

If Mortensen: The Command to Loot I had never seen nor heard of this

1 ' book before, so I set out to find it. I was on the track of the Trapezoid-™

I f! ls primes an elusive trail As I began looking, I soon discovered

f that 1 he Command to Look was no arcane Black Book, but appeared in the

University of Texas card catalog as a book on photographic techniques Mv
interest waned slightly. Besides, the only copy was In the Humanities "
Research Center which Is also home to much of Aleister Crowley's
personal library. That always means red tape. I put off my quest for a few

Weeks turned Into months before I moved myself to take up the trail
again. After finding the right collection on the right floor, and after sitting
through the required slide show on how to handle rare Items in the
collection. After the librarian asked "Are you sure you want to do this?"—
I knew I was on to something.

I I was shown to a private reading room where I finally got the book —

presumably dug out of some unseen vault. It was laid before me in a
plexiglass "cradle" which is to prevent damage to the tome. What did I see?
rtaere on the cover of a small book I was confronted by the face of a baby
who looked like a refugee from a Norman Rockwell painting The
librarian sarcastically remarked, "Looks real interesting "
. Since I had gone that far, I opened the book, I did not now expect much

But I was very much surprised. The Command to Look Is indeed a treasure
trove of the Black Art, and the ideas contained in It should be made
available to the Order not only on historical grounds, but also on the basis
of their practical magical value.

Theory
Mortensen Insists that the main premise of the Command to Look (CTL)
is closer to pure showmanship than anything else. Hie formula is three™
fold:

(1) The picture most, by its mere arrangement, make you look at it (IMPACT)

(2) and having looked-— see I (SUBJECT INTEREST)

(3) and having seen— enjoy I (PARTICIPATION)

All three of these elements must be fully activated before the artist
— or magician — can be said to have successfully "commanded to look/'

All three of these elements most be fully activated before the artist — or
magician — can be said to have successfully "commanded to look." All
three, however, work in such rapid succession that it is almost always
effected unconsciously with regard to the viewer— and therefore the artist
must carefully formulate his images to work efficiently in all three
elements.

The first element — IMPACT — is psychically coercive, and its function
is entirely one of the shapes or patterns the viewer sees. It forces the
viewer to pay attention to the image. This initial force, which Mortensen
calls "the pictorial imperative," is the force necessary to overcome the
natural inertia of attention which holds most humans in a more or less
constant grip. According to Mortensen, IMPACT is purely biological in
effect. It is primarily dependent on shapes or patterns that serve as stimuli
signalling DANGER. These fear arousing patterns must have their psychic
models stored in the forms within the "racial memory," or to use the
Jungian term, "collective unconscious" of humanity.

Mortensen identifies four basic types of pictorial patterns that have
the ability to cause this reaction:

1. The DIAGONAL, e.g. the lightning bolt = something that moves swiftly

with determination

2. The S-CURVE, e.g. the snake (something that approaches in a slithering

fashion) or the curves of the body (especially female = "the line
of beauty")

3. TRIANGLE combinations, e.g. a blade, sharp points or teeth

(= the threat of sharpness)

4. Compact DOMINANT MASS, e.g. large animal or trapezoid

(= massive block in one's path)

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-) Again it can not be overemphasized that these patterns are purely

i| "' formal and have nothing to do with the dominant themes of the images. For

example, if one drew the outlines of the basic contrasts in a black and white
photograph and examined them in a purely geometrical way, the "pictorial
pattern" would be obvious. More than one category of pictorial patterning
can be present in any given representation as well.

The second element — SUBJECT INTEREST — must now be able
to "deliver" what the successful application of the pictorial imperative has
promised. Many images, or magicians, may command to look, and then be
quite unable to hold the attention they have attracted. This is done through
the actual subject of the image, moving from the external form to the
internal essence of the thing. According to Mortensen, in order to hold the
attention — in order to make the viewer see — he or she must at once be
: j able to recognize something basically and essentially compelling about the

f ' subject. For all practical purposes, this recognition, must occur

\\ simultaneously with the IMPACT. Therefore, the types of SUBJECT

INTERESTS must have as broad an emotional appeal as possible.
Mortensen cites the great showman, Cecil B. De Mille, as saying that the
\ | " formula for box office success is to have a film dealing with sex, sentiment,

religion, and sport. Mortensen reduces this somewhat to three subject
themes:

l.SEX

2. SENTIMENT

3. WONDER
It is Mortensen 's contention that their compelling nature make them the

most effective imagematic themes in the CTL.

The sex»theme seems to dominate — it certainly does in Mortensen' s own
work. In commenting on the gender of the subject of the sex- theme image,
Mortensen says: "It is interesting to note that women are just as much
attracted to the theme of sex when presented in the form of the female nude
as men are. Their attraction in this case is vicarious, rather than direct.
Their pleasure comes in imagining themselves placed in a situation where
they would receive the same admiration that goes out to the theme of the
picture." (p. 37).

The sentiment-theme is usually effected through the softer aspects of sex;
children, hardships of humble life, domestic life, animals, landscapes,
national pride, glamour of the past, etc.

The wonder-theme is quite broad and covers the areas of unknown,
uncertain, mysterious things, as well as themes of the supernatural, the
macabre, etc.

Themes can, of course, be effectively mixed. Some permutations, such as
sex + wonder might be more immediately effective than sex + sentiment,
but as with all forms of communication, it would seem that knowledge of

! :.'■

% >:

one's potential "target audience" is the essential variable

It should be obvious that the effective use of the CTL is largely
dependent upon the aesthetic compatibility of the nature of the IMPACT
pattern and SUBJECT matter. Interesting mixtures are also possible here

The third element of the CTL-formula is PARTICIPATION the element
that causestiie looker to experience - and thereby enjoy - what he or she
is seeing. Phis is done, according to Mortensen, by drawing the viewer's
attention into the image by means of lines — geometrical alignments —

Spapt a ?« ^? f those attention P^erns in accordance with the

/L and SUBJECT matter of the image. Mortensen comments that the
eye of the looker will naturally move along contours and outlines, and that
such geometrical guides should be provided by the image-maker in ways
compatible with the IMPACT lines and the SUBJECT matter. This is what
he would call confirming forms." The image-maker must, with this third
element, confirm the promised subject matter after having "commanded to
look in the first place with an almost pure "shock element."

There are at least three ways to apply the principles of the CTL—
1) in the creation of graphic or spatial images (e.g. photographs, drawings,
paintings rooms, chambers, etc.), 2) in Lesser Black Magic, and 3) in
Greater Black Magic.

The first application is obvious and primarily what Mortensen had in
mind. The work of Edward T. Hall, e.g. The Hidden Dimension, is a
valuable supplement to the CTL in this regard. Of course, the design of a
Trapezoidal Working Chamber could not ignore these principles either

In reading Mortensen's book, the Black Magician probably could not'
escape the feeling that these principles could be applied outside the context
of the graphic or spatial arts. If indeed these principles are "biological" or
part of the racial memory," could they not be employed when the Black
Magician considers how to present himself or herself when working Lesser
Black Magic? It seems that the CTL contains a comprehensive theory on
how to get -and hold - the attention of someone on an unconscious
level. What, then, the Black magician does with that attention is another
matter. However, it is clear that when one looks around that CTL is beine
aU&e y time y * ^^ ° f individuals ' both consciously and unconsciously

Finally, the CTL can be used in Greater Black Magic. The Black
Magician can use its principles to impress more effective images within the
subjective universe and thereby have a greater or deeper effect in the
objective universe. Also, any objective manifestation of this process - in
an objective image constructed according to CTL principles — will be a
more powerful tool in effecting Greater Black Magic. This is where the

I ll

■. ■■'■.,..■.■■■,

Law of the Trapezoid comes In. If we analyze the Seal of the Order* we
will see a (Grand) Masterful application of CTL principles: the "swiftly
moving diagonal" its center (the head of the fcfewn-scepter), the "threat of
sharpness" throughout (not especially the interlockings of the numerals
with the angles of the pentagram and the -w- at its nether point), and the
"dominant mass" Implicit In the trapezoid Itself.

The Black magical applications of the CTL seem virtually boundless and
it is to the credit of Anton Szandor LaVey, first Grand Master of the Order
of the Trapezoid, and perhaps the greatest magical genius of this century,
that he was first able to extract the practical magical applications from
Mortensen's sesthetlc theories.

Postscript
When I returned to the H.R.C. for a second time to read the Mortensen
text in preparation for this article, I found that those in the library who had
formerly been so sarcastic about the book were now well acquainted with
what they called "that weird book." In fact, I found that It had not been
returned to "the vault" since my first visit, and it had become quite a
sensation among the staff.

t Michael Aquino, "Evolution of the Order of the Trapezoid Insignia"
Runes IV: 2, pp. 1146.

1':

■n

I i

I I

ri 2. u

uruz, aurochs; drizzle (vitality)
UROX

^!f le: 7i tal f gaDiC enCTgy ° f Kfe wd ori g inal Procreation and
subsequent .transformations. This is the mystery into which the Black
Magician links without losing Self in order to Work. Magical
Understanding. The Gate which is opened in Working
y 3. TH

thurisaz, giant (thurs); thorn, thorn (brute force)
THURS or THORN

Principle: Non-conscious reactive force in the cosmos- a Thurs This can
be, and must be, wielded by the Black Magician- by the agent of
consciousness in the World. The hammer of Thorr - Mjollnir - outgoing
force which can be turned around to form the "Sleep-Thorn" and be uEd g
to delve consciously into the unconscious
f 4. A

anw, the Ase (= Odhinn): sovereign ancestral god of consciousness

Principle: Divine consciousness embodied in the human psyche The Four

KS WoS Dmne - Pnnci P le " ™ e *vine -emplary model.

K 5. R

raidho, riding, vehicle
■ RIDING

Principle: Rythmic and proportional dynamism. The Right. Hie Principle
of symmetry and the phi-mtio. Hie functioning, formulaic Principle
behmd die process of Ritual. The Pentagram-Is a democffirf the

< 6. K

kenaz, torch (controlled fire)
KEEN

Principle: Creative fire. The Black Flame of Knowledge- a Principle
derived directly from the GIFT (7) within MAN (20) This is the
equivalent of the divine fire brought by Prometheus- the spark of

inspiration m the creative process.
X 7. G

gebo, gift, generosity (exchange)

GIFT B

SS; ^f 1 k f elf: ^ Gift ° f Wotm ° In Tem P le te ™*> the Gift of
the Prince of Darknessf- the Gift of isolate Intelligence defining the

:Vt :

•

m*m

mmm

1
1

■ ...

T . 35

potentially divine Self.] The Form of the Ring (of the Nibelungen) forged
within the Self. to

wunjo, joy (ecstasy)

WYN

Principle: Ideal harmonization of elements in the subjective and objective
universes. Subjectively this is experienced as a sort of ecstasy. For the
Black Magician this is a means to Willed ends, but for the White Magician
it is an end in itself. to

H 9.H

I hagalaz, hail(-stone) * [seed-form]

f§ HAIL

"1 This is &e Seed-Principle of all Becoming. The icy hail-stone is a symbol

if ' of a transformative substance which enters consciousness from the outside

!l This is the Graal-Stone. The Mystery of Essence. The Stone from which

I the Knights and Dames of the Order read the Universal Essence. Hie

d insignia of a Master of the Order of the Trapezoid— *

* t 10. N

J naudhiz, need (the need-fire)

I ...^ NEED

) Principle: NEED— resistance or friction in the Universe. It is the impetus

which sets in motion the process for the ignition of the Black Flame within
the Self of the Black Magician. The Need-Fire is the Self™ generated flame
that can be impressed on the universal order in Black magical Workings
i • 11. 1

isa, ice (contraction)

ICE

Principle: Absolute contraction or stasis. This is the darkness of Cosmic Ice
(cf. theories of Hans Horbiger or those concerning "black holes" etc.) This
is the zone in which the magical silence and solitude of the Black Magician
is cultivated.

* 12. J (Y)

jera, (good-)year (harvest)
YEAR

Principle: The horizontal [Natural] cycle. This is the Form central to the
functioning of mechanical / organic Nature. This is a Form which the
Black Magician must learn to understand and to use— without being
consumed by it. It provides material rewards for actions undertaken in
concert with it.

•; 1

t 13. EI

eihwaz yew(-column) [verticalitvl
YEW or YOGH

iree YggdrasilL and the power to traverse various levels of the
hypothetical universe. me

t 14. P

pertkro, lot-cup (divinatory tool) [evolutionary essence]

Principle. Time. The process of the Three Noms, or Wyrd Sisters k

Hypothetical ). Ilie P-Rune is the Traoezohedron a« th* w«ii ^\/r •
at the nadiyf which the Subjective Eyf* ^SiTif i^ 1 ° f **""-

e//wz, elk (nobihty)
ELKS

S?SSi2f S e ft 1 r W6r ° f * e Unk between * e world of Forms and
that of Things. The link between the realm of the Trapezoid itself and it?

jyigja or daimonic Self. The power to receive and wield magical force
The insignia of the Grand Master [and Grand Masters Emeriti?- T
> 16. S

sowilo, sun (crystalline light)
SUN 6 J

Pnncip e of Honor within the Order. [MeL EhZhe£tteZ~^
Honor is Known by Faithfulness.] J My

T 17. T

teiwaz, the god Tyr [rationality!
TIW '

Sek

fc 18. B

berkano, bireh(-goddess) [emergence]
BIRCH

Principle: Self-contained propagation or growth. The nine angles created
by the combination of the Trapezoid (4) with the Pentagram (5)
M 19. E

ehwaz, (war-)horse [energy]

Principle: Active and empowered cooperation between two entities or
elements directed toward definite goals. The "wedding" of MAN (20) and

u u ™T7 To^? mcarnate magician with the Principles of his or her
higher [Wode-]Self.

H 20. M

mannaz, man (= human being)
MAN

Principle: The Incarnate Black Magician as one possessed of the GIFT (7)
seeking the higher Existence of the YEW (13). MAN is Hie essence of the '
heroic struggle of humanity toward higher Existence beyond death
t 21. L

laguz, water (fluidity)
LAKE

Principle: The Llfe-Force. The power of Loki In the transformative
process and the Essence of the Elixir contained within the Horn or Graal-
Cup. [Becoming.]

♦ 22. NG

ingwaz, the god Ing [repose]
JNG

Principle: The separation of the evolving Black Magician from the Natural
World in a state of non-natural Existence in which Willed Becoming can
take place. &

N 23. D

dagaz, day(-light)

DAY

Principle: The dynamic synthesis of all polar opposites in the central Self
of the Black Magician. The light of DAY brings the ultimate state of
Magical Awareness and wakefulness. This is the Rune of consciousness
enlightened by the Black Hame^ the primal Symbol of the Gift of the
Pnnce of Darkness.

A 24.0

othala, estate (stationary wealth)
ODAL

Principle: The complex welding together of diverse entities and elements
WdS** Sdf eXpression - Princi P le of the Order and of

Walhalla.

sfc 4»4» . . . *i* «jl j*

[Subsequent developments and investigations have demonstrated to me that
the traditional basis of Runology must be used as the ultimate guideThen

approach afforded by Trapezoidal speculation can be valuable as a wav to
open gateways to new kinds of understanding- but the fma 1 test of vahdkv

subjective enthusiasm to its Willed goals. The advantage towSwI a

touchstone which can periodically be consulted to determine whether the
Inmate is on the right track. This is the true meaning of Sg able to 'reTd
heathen writing" on the facets of the Graal-Stone, or Hail-StJn ]

IK.

RUNES AND ANGLES

(/to/aw IV:4 1986)
It has been noted by German Rune magicians that the Runes are a
psychologically engaging script. Each Runic shape fascinates the viewer, as
opposed to the flat, lifeless appearance of Roman letters. But what exactly
is responsible for this effect? I think it is to be found to some extent in the
Law of the Trapezoid. If we look at the Latin capitals:

ABCDEFGHIKLMNOPQRSTVXYZ

we will see a predominance of right angles and curves. These right angles
tend to lead the eye into "dead ends," and the curves deflect the attention
entirely. Now, if we look at the runic futhark:

mn< N+Rjtrs rmnrmx

a different picture emerges. Obtuse and acute angles predominate— with
no curves at all These attract the attention and hold it on the figure or
angle itself. There is a possible historical reason for this. Originally the
Runes were carved on wood and their shapes were the results of efforts to
avoid "going with the grain" and thus losing the distinctive line, a concept
with magical import of its own perhaps. But even later, when Runes were
written on parchment they kept their unique "obtuse" shapes.

Perhaps this factor is to some extent responsible for the "Command to
Look" based purely on the visual impact their shapes also make on the
psyche of the viewer. This, coupled with the lore and magical tradition
attached to the Runes, only increases this impression— and this reality. The
Runes attract attention, hold it, and are able to a large extent to deliver on
this initial promise of Mystery and Power.

#
■

P .

GRAAL^MYTHOS IN OLD ENGLISH RUNES ?

(i?w«es IV:4 1986)

The ancient Anglo-Saxons expanded the runic futhark to an eventual total
of thirty-three ranestaves. They were using as many as twenty-nine from
the earliest period for which we have records for them (ca. 450 CE) But
these were always mere expansions of the twenty-four Rune futhark

Also from an early time (ca. 700-800 CE) two Runes not belonging to
these twenty-nine, I calc: 'chalice' for the "hard" Id as in "cup" and * edr
spear for the "hard" Igl as in "gar," were occasionally being used For "
one to two hundred years earlier the related Frisian tradition on the
Continent was using additional Rune: H start for /stA However in one
manuscript — the Cotton MS Domitian A9 of the 1 1th center^ — which is
probably the clearest, most reliable representation of the codified English
tradition in use in the 1 1th and 12th centuries (ca. 1000-1200 CE) we find
these Runes not only present but juxtaposed to one another with their
names:

calc

stan

gar

I find it more than coincidental that these three elements would be
juxtaposed to one another in an ostensibly "secret tradition" at a time and in
a place reputed to have been a hot-bed of Grail mysticism. That these are
precisely the three elements essential to Wolfram's esoteric vision of the
Graal — or one that synthesizes the view of the Graal as chalice and the
Graal as stone — seems too much to ignore.

Some may be put off to some extent by what seems to be the Christian
symbolism of the Graal— however, the astounding fact is that there is
absolutely nothing Christian about it. Only some of the less enlightened
myths of its origins (not that of Wolfram/Kyot, for example) are
Christianized— but these seem late and apologetic. But the actual way in
which the Graal and its Order function is precisely un- or counter-
Christian i.e. Christ is not a factor. An early earthly high priest or initiate
is chosen from the Order to perform as Graal-King in service of the purely
abstract (non-personal) principles represented by the Graal. It is no wonder
the whole Graal-Mythos was shunned by the medieval Church

It seems that the "magical formula" calc-stan-gar actually represents an
esoteric understanding of the Graal-Mythos unique to the Germanic world

s :|

(as far as we know) Although Wolfram refers to southern sources [from
Moorish Spain] no hard evidence for this understanding has actually come

well as other discussions m medieval German works e g the
Wartburgkrieg of Heinrich von Ofterdingen in which the Graal is
identified with a stone that fell from Lucifer's crown, and the Old English

well be that mis whole complex actually represents a heathen tradition in a
heterodox Christian setting. It is not far-fetched to assume that heathen
elements would find a safer home in heretical ideas than trying to wedge
themselves into orthodox forms (although this also happened) §

I think this material is sufficient for any true Black Magician to be able

one additional piece of information that the spear is certainly Gungnir the
spear of Wotan which acts as his scepter of power- the true «s££ of

■A

1
\ 1
! !

! !

■*

W-

i i
i i

RUNIC ORIGINS OF THE "PEACE SIGN"

(Runes IV:5 1986)

In the early 1960s a curious sign became prevalent which until then had
been unknown to most people. It could be seen on buttons, on the sides of
micro vans, and often painted or drawn on neighborhood buildings.
Perhaps it was first noticed as a sign carried in various left-wing
demonstrations for peace and/or nuclear disarmament. It came to be known
popularly as the "peace sign."

Among Rune occultists it is popular to assume that anything that is Rune-
like is in fact, on some level, actually runic, i.e. mysterious or magical in
character. While such forms of ascriptive magical thinking when kept
under control can be made meaningful, it might be interesting first to find
out whether a given Rune-like sign has factually runic roots. In the case of
the "peace sign" this can be shown.

Some years ago I read an account of this sign which was highly
unsatisfactory. It stated that the sign was made up o a combination of two
letters, N + D, from some obscure alphabet or another, and that these
letters stood for "Nuclear Disarmament." Furthermore, it was reported
that the sign was first developed and used by British anti-nuclear activists
in the early 1 960s. [Later I was to discover that the "alphabet" in question

was the Semaphore signal system in which a stood for N and • stood for D.
The resulting &ign:Q)wa$ in fact seen in protest groups, but it is distinctly
different from the more familiar "peace sign."] It seems beyond doubt that
the sign was used by such groups at that time, but was it their invention or
did they borrow it from some previous source?

As it turns out, the use of this sign was not new to the Left in the- 1960s.
It had been used, for example, by the anti-Nazi Left in Germany itself and
also by clever Russian propagandists on the eastern front. Actually, it is an
example of the use of a group's internal symbolism against itself In the
esoteric runology of the early 20th century, chiefly originated by Guido
von List and his followers, the sign i indicated "death." This is in contrast
to the sign T which meant "life." This symbolism quickly spread to popular
use In early 20th century Germany, so that even certain newspapers began
to print the dates of a person's birth and death prefixed by the signs T and
i respectively, e.g. Guido von List T1848 - X1919. Some papers continue
the practice to this day. It was well established that these symbols
essentially stood for "life" and "death." Perhaps it should be noted that
Right Wing organizations have also taken up the "life rune" as a symbol,
e.g. on the masthead of the National Vanguard.)

The Russians, as the Red Army advanced toward Berlin, distributed
leaflets urging the Germans to give up the fight, telling them that the war

1
I

;t and wotan

(Runes IV :6 1986)

help illumine fe ^.donsSp S2 „™u St S ° lsto ™ 09S4] ,c

WOTAN
perfect] Form- he doe!™" £5,t1 R °" eS ™ dread » »"*»=« h*

and even some areas in North Afrir^ w^J • L « y ' pmn ' France

certain groups. )- W ° deD Cannot be ex P<*ted" out of

P ? ti u U , 1 f ? C6t is m ° St Ciearly demonstrated in the myth of Raraarok in
which Woden is swallowed by the Fenris-Wolf Tt <hn,,M rl h ,

releasing a transformed Woden back into the active world This Eh

recorded by the Grimms in the early 1 9th century 8

Woden is highly paradoxical. He embodies all extremes in himself and

die Wodemc Form is an instrument for the synthesis and will™ hitiUzation
of ; polarized .substances or essences. But ultimately something is mi sin" m
this image. Woden is the pure suprarational will to power, SowS Ld

pleasuie - and that the combination of all these factors lead to the
conclusion that we are dealing with a comprehensive Will-to-Life It But the
crystalline Form which makes any coherent expression of these tnits

comprehension transforms him from a potential god into a true god

SET
The Form of Set is the crystalline Form of pure Self-Consciousness Tor

coherent and ordered within itSelf and remains in a pe^etual 2 of
separation from the organic/mechanical universe. Ultimate? "it shou Id be

a Form such as Woden. Without the existence of this PrindSe Woden

the Runes: he would never have realized his own isolation Set by
whatever name is the prerequisite of all Forms of consciousness Ld all
god-forms for this very reason. This is part of the tmfli SS the

all other times and nations have been created by men " ° mer g0ds of

Set is mystifying only in his ultimate simplicity Once the Form k
grasped other Forms are seen more clearlyfaough its lens aTa new
depth of focus is possible. Without this lens it is impc sible toTee SeJ

organism of the universe.

If the ancient Germanic Erulians (i.e. Initiated Rune-Magicians) were to
be confronted with the Form of Set - which some may well Tve beSi

a god (tean ansuz). This Form would certainly be that oftte run.V
system itself. Thus the "Gift of Set" would be the infosTon of toto

OT«^™s^?:f-'^iV^^■■:Siffi;..il&v,L..'".ia.~ , '-.:, ,,.-..,.. ~TT!T^^^^* b " :

into the mechanicaVorganic universe. The role of Woden is that of the
archetypal magician who first grasps this Gift and thereby shows the wav
to his human retinue. Woden also has a Gift- which is the codification of
the Runes imparted in the Germano-Runic initiatory system Thus the
ultimate Form is that of "Set," in the Germanic system this Form is a
nameless unknown" abstract [= Runa] as is its counterpart Form HarWer
(Horus)- the Form of the "Secrets of the Natural Universe."]. A god in
this case Woden, grasps this Gift and infuses it into man. There is direct
mythic evidence for this in the Germanic myth cycles, where the tri-form
Woden-Wih-Weh imparts spiritual gifts to the primal man and woman
whom they shape from living vegetable matter (trees), not from dirt! [See
the Voluspain the Poetic Edda, stanzas 17-18.] In ancient times, the
special qualities of this Gift were reserved to the Runic Initiates

It should not seem odd that other gods or goddesses would be involved in
die distribution of the Gift of Set. This is the way it seems to have been in
bgypt as well. There are few direct references to Set in what most would
clearly recognize as a "magical" context- but this Form is presupposed in all
acts of consciousness or certainly of true magic. If an ancient Priest of Set
were to attempt to understand the Form of Woden completely, he would
probably have to make a conglomeration of various gods: Thoth, Anubis Bes
Osiris, and so on. Beyond this he might see in Woden an expression of the '
magical conjunction of Set-Horus— under the control of Set but with a
benevolent will toward Horus, i.e. toward the organic cosmos

In the final analysis, Set and Woden have little in common. One Form
can not be mistaken for the other. Rather, these two Forms are
complementary. That which we have identified as Set can exist in a void
separate from an organic context infused with the Gift. Although it might
be incorrect to say that Set precedes Woden in a linearly chronological
sense, it is true that Woden presupposes, or even implies, Set [i.e. the
Principle of Isolate Intelligence]. This is an important noint since it
prevents us from assuming that it is only because of Set's chronological or
historical age that that particular Form is central to the Temple. Actually
it has much more to do with the quality of that Form— regardless of its '
age.

In this regard, something I wrote in a letter (7/12/1987ce) to a modem
Odmist seems right to the point:

The statement in the Book of Coming Forth by Night that "all other gods
(other than Set) are created by men" is best understood as a statement that it is the
power of separate intellectual consciousness imparted by Set which has given
mankind the very ability to apprehend the forces and principles of the universe
w-nn P, ersonif >; Md visualize th «n as gods. In this sense, Set malces it possible
hL; T m TH° r %T ~ ° r YHVH " - or "Ctnulhu," for that matter, to exist
me om W ° d ™ SUinCe ^ am ° f Set P^ 01 """ 01 * «° *e existence of

% . I

Wswm

WALBURGA IN KHEM

A „ , (Runes IV :6 1986)
Among all the, «Twniati\^ „„a • , i .

[Germania] and Khem fE^mUhZ LI C ° mlat ] ms between Thule
1912 in the Nile delt* Th ," ? T ^P 6 out of North Sea ore found in

that the name, which evenSv ZZZ, l$ °' " IS interestin g to note

Walburga, a 7th century English abbess wL 7„ti i *f t0ncal St "
continuation nf « J s . ^burga and celebrated on May Eve in

6et, occurred on just this night *

soSSSKf'S °£S a ?f ^ \ dI have beeD ^ to leam
rapidly ^J^S^^fi™ ^ *** * me » ■ «*?* being

great majority of Germanic SeonTe nT F™t H TT* W1 * them ' ™ e
the common era wereToTiersTn LI S ^ P ,T 8 ^ &St centuries of
their "tour of duty" was vS rltSZll ^ M ^ * these, once

spread what th e 7had l^ed an^o™ e ° r ST^ "* ^^

i :

example. ' as a wnUn g s y stem > are one such

Not only did the Germans go to Esvnt in fhp firct ^„„ • ^ ,
same time Egyptian cults wefe ZuIEt » ^ntunes CE, but at the

never been any evidence for ,.„""?! T , Howev i». Utere has
Ihem into their culture- iT«K?„ . y <""* s,a,e ™ d ado Pi

Form (and eventually in the tini CeW T~ i SS 10 rise "^"

< Anton LaV.y inangtnnted fine Church of Satan on W„p„ gisMdlt . )966

Sas

f
P

■.■■■gp"

.a-

■;-£:

TRAPEZOIDAL CINEMA

(Runes V:l 1987)

One of the roots of the Order of the Trapezoid's heritage slithers its way
out of the German Expressionist cinema and the genre of the Schauerfilme
("horror films") produced especially between 1919 (the date of The
Cabinet of Dr. Caligari) and 1933, This body of work is touted as a
significant Influence on the past Grand Master Anton Szandor LaVey's
vision of the sources and shape of the Order, But the question really Is:
Was there any actual connection between the German magical scene and the
films of the period? Or were these images merely the products of the film
makers' Imaginations? We are very much used to seeing uninformed
mumbo-jumbo on the screen in more current films. Was It all that much
different then? There are those notable exceptions to this general state of
affairs: Rosemary's Baby, The Devil's Rain, and even The Asylum of
Satan. In those cases, the sources are given credit and it is easy to separate
the wheat from the chaff.

Was LaVey's understanding of practical Black Magical precepts that he

saw in these films another example of his genius seeing things that were

perhaps not consciously intended, or intended only in some Lesser Black

Magical way? Another example of this process would be his transformation

of William Mortensen's "Command to Look" from, what was after all

mainly intended as an effective way of composing photographs, into a

Greater Black Magical principle. Or were these Images the visible

reflections of some Black Order of Satanists working In Germany at the
time?

The story of LaVey's first exposure to these films which were to shape
much of Ms vision of the Trapezoid is ambiguously recorded in The
Devil's Avenger (pp. 27-28.):

During the summer of 1945, one of Tony's [LaVey's] uncles was hired by
the Army as a civil engineer to reconstruct air strips in Germany. Since the uncle
had just been divorced he had a family visa opening that was to have been filled by
his wife. Instead, Tony went with him.

One day at the command post in Berlin where his uncle was stationed, Tony
attended the showing of some German films confiscated from the Nazi's motion
picture production office. The movies that interested Tony the most were the
Schauerfilme such as The Testament of Dr. Mabuse, about a mad hypnotist and
depravity In high and low places in pre-HItler Germany; and Metropolis, about a
wizard-scientist named Rotwang who confounds a revolt of slave-like workers by
sending a humanoid to double for the Joan of Arc-type of woman serving as the
workers' leader. One of the Schauerfilme told the story of an effete young man, the
scion of a multi-millionaire family of munitions-makers, who entertained his friends
with Black Masses. The particular Black Mass favored by this wealthy young
German made use of a trapezoid suspended from the ceiling, a revolving pentagon
or mirrors, creepy electronic organ music, and electric lights buzzing through his

tho7 lAu XJCimm mier Pretuig tne films for the viewing Army brass exnlaineH
that what they were seeing was not merelv fin-inn h,,t an „ H . y explained

Indeed! Did such people really exist? Tie question is not answered
clearly elsewhere. Later in the same text, it is said with regard to LaVev's
early assessment of Aleister Crowley: "Crowley, in some paS of Ms
books, seemed to be the nearest living facsimile to the Black Mass

S 5T?htT Cted iD ** Geiman Schauef film Tony had seen in Berlin"
(p. 32.). The tenuous connection between Crowley and these films mav

dentity of the exact film in which the Trapezoidal Black M?ss is supposed
to have appeared. [The best research to date indicates thai t no such fiL
exists, or has actually survived.]. However, it is certain that livey made

Expressiomstic films— at least by his own account

fhe glaring question remains: "Did such people actually exist?" In order

the German occult scene during the years in question. This is a difficult
task for anyone not associated with it at that time, as the German Seal

American counterpart. However, any solid connection between | e self
consciously magical culture and that of the film industry SciXf
creative forces behind the set designs) would be a good s£^f s
beginning has been provided, I believe, in the person of Albin Grau

oulTrT- • thC ^ giCal initiat0ry name F^r Pacitus, was ^Master
of the Chair and Master of the Orient Berlin of an order calhns S the

odge was constituted in 1921. Its Grand Master was Heinrich Tranker
(Frater Recnartus), its General Secretary was Gregor A GrSoriuf (-
bugen Grosche). In 1925 a sort of "secret conference" was S at Weida
o Sn™, y ' ? 6 PU ?° Se ° f this c °^rence was to decidl whether oTnof

nis personal secretary
Martha '

Norman Mudd. The conference was s^Ht a.d evenSy Sg Z Grau

Batumi ( the Brotherhood of Saturn") 1 The FS wjk (*nd i*\ tt-^i •+ u
has many sinister angles- among them the only reference?! ma^seen t

older traditional occult literature to Tesla energy and the use of electrical
apparatus in magical workings. electrical

So who was this Albin Grau? A review of the credits of major
hchauerfilme of the period, mostly made at the UFA studios in Berlin
reveal that he was the set designer for such films as Nosferatu: Kne
Synphome des Grauens (1921), and Schatten (Warning Shadows) (1923)
Grau also provided the story line for the latter film which involves a
magician who hypnotizes people, and who then "entices their shadows from
them causing them to perform the roles inspired by [his] shadow pky!
acting out their subconscious impulses in a collective dream "2
Unfortunately, this film survives only in a fragmentary state. But the main
point from our perspective, is that a positive Snd definite link is
established between the world of the makers of the Schauerfilme and the
occult elite of Germany of that time. Whether as a glorification o?

™SS * ese P ortra y a , ls * ese fil ™ makers put on the screen can be
trusted to reflect some actual magical practice. Generally these Satanic

SrlT^ USUa " y meaDt t0 condemn ±e factions b «ng portrayed in

Sir,' S ° m ^ ° f ^ Pe0ple workm S on ** films must have
known something about the nature of this underground. If LaVev was

guessing that occult secrets were displayed on these flickering screens
perhaps it can be said he was conect.

further

ItoteiS) (#<~^), Otto Hunte (Metropolis and the

ed.), p. 21 .
2 John : D. Barlow German Expressionist Film (Boston: Twyane, 1982), p.

Jii

JSTIN OSMAN SPARE
TRACK OF THE TRAPEZOID

(Runes V:2 1987)

M«R&? ° S SUrr ° Und the magk of Austin 0smaB SP^. Spare
(1886-1956) was a contemporary of Aleister Crowley with whom he

shared several magical interests. Although Spare was formally involved

enough faskon with several published works and one-man shows. BuThe
abhorred established society and spent most of his life (ca 1930-19561 in a

South London. Toward the end of his life he became involved with
Kenneth Grant whom Spare made the executor of his estate. AOS is the
subject of one of Grant's more lucid texts: The Images and Oracles of
Austin Osman Spare (London: Muller, 1975) duties oj

Spare worked a peculiar kind of highly personalized magic. One of the
exhaustively and practically treated by Frater U.'.D ' in Practical 1^1

his will and as gateways to other dimensions and realities. Spare himself
seemed only vaguely aware of the geometrical principles behind much of
his work, and his executor and chief interpreter, Kenneth Grant seems
totally unaware of the Trapezoidal implications of Spare's contribution

lef vmo n°Tn ?T US6 > d l °-r ° rk With these si S ils was lar S el y auto-erotic

turnm

Love under Will" upon the Self as its object caused Crowley to assess
Spare as a Black Brother- or a "Brother of the Left-HanH P„7h »

A reading of The Images and Oracles of Austin Osman Spare reveals
some astounding evidence for the emergence of the Trapezoid in Spare's
magical work. At one point toward the end of his life, Spare is said "to
have discovered a mathematical formula to express the ultimate
development of the Neither-Neither theory..." (Neither-Neither theory is
an expression of magical "inbetweenness"- a state between all polarities )
Apparently AOS was very interested in the explorations of other

.wK!f rr , Pr ° bab y V s CapaWe of fair] y sophisticated mathematical
theonzing (Grant reports that Spare won the national Gold Medal for Mathe-
matics with a treatise on solid geometry when he was fifteen), his work with
extra-dimensional reality seems to have survived mainly in his graphic
representations He committed little to nothing of this kind of theory to paper

dreams of extraordinary perspectives which he found himself unable to draw;

■ i
; I:
:?;

I .'*•

•^■'■—'■^"•'- Jm ^'---^^ss»^f^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^mj

boSsss 55; ressj? technique ' one pai ' agraph in Grant,s

c^oXaufn 5SS3 , S?KK « S P- ' S W0 * - *« to a
and space] is by a reorientaS aSte 1^1™ d ° ** [ie ' C00 ^^ ttoe
like looking at a person from ^fi&„2£fflT "^ sm ?, ulta «y- It is
aesthetic theories is that "through attennS ™ 2?t,? ? 6 Same J™* 0ne of Spare's

Many of Spare's magical drawings reveal hi« ,,*« „r j-
non-Euclidean geometries for op^^^^^T 00 ^ ° T
interesting is reproduced in the work enritW < Z fw * S m0re
piece we see Spare's use of «Wl,w£ , J eml Vam P lr e." In this

representations Sa martx of S t T ° 0Upled Wlth P ict °graphic

lay about the room. His landlady Sted Tn scZ nf ^^ m unfini *hed state,
distorted sound, wheezing and SSS T* ° f *? radlos and a thin
mechanized ghost, «KffidK «be metallic breast of a
instruments vacillated in a kind of SanS %£ fS.) ° f ** ^

Roger's "Tonal Angularity " aS ffrlTc Elektn i che Vorspiele and Sir

objective universes— and even irnnrtTn subjective and/or

ultradimensional "keys" So7t- ?h Runecraft «« actually such
causality. I might also suggest 2 fte Trf * ?f realmS ° f »** and

: 1

MAGIE UND MANIPULATION

(Runes V:3 1987)
I
Introduction
In Anton Szandor LaVey's introduction to the ritual he called Die
elektnschen Vorspiele ("the Electrical Preludes") in The Satanic Rituals he
said Ihe rite, as presented here, was intended to alter an existing social'
climate and establish far-reaching change." (p. 108) It has long been
thought that what the National Socialists were able to accomplish in the
held of the politics of power was somehow aided by magical means The
image of cells of the "Black Order" performing versions of this Greater
Black Magical DeV Working to influence the German body politic is an
intriguing one The reality of this image, in all its technical details, remains
one of the chief concerns of the Order of the Trapezoid. This image is also
echoed in LaVey's discussion of the Yezidis' Seven Towers of Satan — six
of them trapezoidal in form — "intended to serve as a 'power house' from
whence a Satanic magician could beam his will to the 'descendants of
Adam and influence human events in the outside world." (p 151) Both of
these feature the idea of influencing the general social/human environment
by means of Greater Black Magic.

As far as National Socialist use of magic is concerned, much of the
private work undertaken in the Ordensburgen was kept totally secret and
any and all documents relating to it were destroyed before the end of the
war. Subjective evidence also would indicate that those individuals with
intimate knowledge of this work did not survive the war. However, as any
effective magician knows, Greater Black Magic aimed at causing effects in
the objective universe must, in order to be most reliable, be supplemented
with Lesser Black Magical techniques. Of this Lesser Black Magic used by
the Nazis we have ample evidence. The subject of this study is the LBM
practices of the NSDAP (National-Socialist German Workers Party) which
took the shape of cultic rites. These were used to forge the nation together
and to shape and direct the "general Will" of the Volt These cultic rites
took many forms, e.g. party rallies, national celebrations, as well as more
openly cultic celebrations. The Nazis, for example, instituted a "Morning
Celebration" obviously meant to replace church services.

So much mumbo-jumbo has been written about "occult Nazism " I can
hear cautious readers now beginning to protest. Happily, with this branch
of the study we have several good, reliable sources. The principal two I
have used here are George L. Mosse The Nationalization of the Masses
(New York: New American Library, 1975), and Klaus Vondung Magie
und Manipulation: Ideologischer Kult und po litis c he Religion des
Natwnalsozialismus (Gottingen: Vandenhoeck und Ruprecht, 1971)

By the way, Mosse is probably the premier scholar of "Nazi
culture," with other books entitled The Crisis of German Ideoloev
Intellectual [Origins of the Third Reich (New York: Grosset and Dunlap
1964) and Nazi Culture (New York: Grosset and Dunlap 1966)

f? h n< \™ ° n L y t0 SCe LeDi ^^i's Triumph des Willens ("Triumph
of the Will ) to be convinced of the cultic aspects of National Soc alist (NS)
political rallies. But this aspect was not one that was unconscious or
haphazard. The National Socialists willfully set out to establish a national
cult which was intended in part to replace Christianity. All the sources on
this phenomenon make this quite clear. What is more, each emphasizes at
one point or another the magical aspect of these rites i.e. that E were

intended tn mold th& mocr^o ;«♦,> — ;„^ ^ ., ... .^ WCIC

instrument

This will is usually seen as an expression of the "general will" of the
y lk— an appreciation which is perhaps fundamental to any deep
understanding of the "Nazi mythos." Mosse writes-

The pragmatism of daily politics lay within this cultic framework and for mn«
people was disguised by it. But "disguise" is perhaps meTrZ term in thk

"nS tf* hWVT*? Utffi ^ S ^ l ^ ic » S£ becomes
magic believed by both leaders and the people, and it is the reality ™f Sric

with which we are concerned. (1975, p. 15) y gic

From a Black Magical perspective, 'these workings could be seen as
efforts to manipulate the masses to do the will of a Black Magical
oligarchy. It ts interesting to note that the theme of a mindless mass or

century,

Dr. Caligan s Cesare, and Rotwang's robotrix Ultima Futura. Another'
theme was, however, the specter of a shadow-self or Doppelganeer- this

return

serve to study these rites of Wn^pm^ h£ ? t ^ZsT "
historical understanding of how such a magical operation might be
mounted. Perhaps never before or since were magical techniques so widely
used to wield as much broad objective power as in Germany Austria

reason the study can demonstrate practical aspects of the structuring of
group Workings and the organization of Order tradition bS oT
previously functioning models. (Again, these may be the most solid ritual
remnants of the National Socialist liturgy.) In addition to X N £Ty
provides a tremendous study in the ritual use of space (proSc maS
and the melding of traditions of the past with tho£ of SZ in a ?
maximally effective and pragmatic way.

matters can S * " ^ T gMnl md Useful > introduction to these

whfch renresenf hpN e - r?™' We SM1 look at a S rou P of ceremonies
when represent the Nazi effort to create a new national religion Then we

A1 . , , ^ SiteiofAeNSDAP

for what we can usefully recover from them. As orleoEl

iui me puoiic-ation or its new religion was called the at*,,* n„*~. - i c
("New Community"). Gemeinschaft

In the discussions of the various calendrical rites we set a well m,™^

ceremonies of the Reich and the Course of the Year," other liturrica!
fommts used by die NSDAP were: "Morning Ceremonies" §

and To S ru / teS £ f passage) ' aDd ^ d*™** celebratory plays
and so-called 7to»g-pla ys . This latter type of ritual was an effort to create

ofKS? L T1Ung - St t ads } were built for *is purpose in the early years
of the Reich. These might even be seen as a more "protestant" style uS

Wagnerian Gesamtkunstwerke] where the sacred action takes Sm in a

Right from the beginning we want to avoid the mistake of assumina this
hturgy was a completely standardized one, or that it was ever rX
developed during the short history of Nazism. Some featuTs w^ re

Himmler

(and hence the "mainstream" of the NSDAP).

£teE£mifflfe£-ltf-llifcJ &fch and Course of t he Year
It was clear from the beginning of the Third Reich that the Party was
actively trying to displace Christianity. One of the most significant ways it
set about doing this was through the institution of Its own "sacred
calendar/' The main days celebrated were:

1) January 30: Day of Coming to Power

The principal liturgical act was the night-time torchlight parade as a re-
enactment of the one that night In 1933. Its significance was the final
victory of the Party.

2) February 24: Proclamation of the Party Program

This was, in the early years, principally celebrated by Hitler and the "Old
Guard" In the Hofbrauhaus In Munich in private ceremonies (in which they
wore "historical" clothing). It was in the main hall of the Hofbrauhaus that
Hitler had first proclaimed the program of the Party on this date In 1920.
This was only briefly a special day of public celebration (19344935). Its
significance was the mythic foundations of victory— which would come to
its fruition on the [following] January 30.

3) March 16: Heroes 9 Memorial Day

This holiday was taken from the Weimar Republic and was originally
called "Day of Popular Mourning" {Volkstrauertag}— and was & a day for
mourning the dead of the (First) World War. But it was Nazified Into a day
of heroic celebration of those who have fallen in battle. The function of
this day was national consolation "for those who have not died In vain"
much as In the American Memorial Day.

4) Last Sunday in March: Pledging of the Youth

This was analogous to confirmation in the Christian churches. It was the
day on which the fourteen year-old boys and ten year-old girls could
transfer to the Hitler- Youth (Hitler-Jugend) or to the League of German
Girls (Bund Deutscher Made!) from the corresponding "junior leagues" of
these organizations. Even though this was obviously an individual rite of ~
passage, It nevertheless had national significance as a time of celebrating
the commitment of youth to the movement. Liturgically this was
principally a private affair handled on a local basis

5) April 20: Hitler's Birthday

This was never (or only once) a legal holiday, but three important
liturgical events took place on this day: 1) The acceptance of ten year-olds
in the German Youth-Folk (for boys) and In the League of Young Girls
(for girls), 2) The swearing In of Political Leaders of the Party (this took
place In full liturgical splendor at night In the Konigsplatz In Munich
illuminated by torches and vessels of fire) and 3) Military parades.

m, :

■

ife-vq

MHMB
MMgmmmm

12) November 9: Memorial Dav iw «. r. «

This is the anniversary o?SLXtVof% F 2?Rv °f, the M ° Vement
was the most religiously loaded ZtifJl I I rP y a " accounts ^s

like this: The "Old Guard ° i rhS f J l* 6 Party ' The rituaJ went
1923, and who had Snveste^Z ^ ^/^ ° n ** da ^ in

and marched toward the FeldherZhnt u B ^gerbraukeller beer-hall
were felled by gunshot TW TZll I ', if C f Xteen of * eir num ^r

that day and stained with the blood fTokT^ ( ° De camed on
passed the pylons upon which Zi ! » T X As ±ey marched *ey
movement " As me CnSi f^ the names of 240 "^len of the

usually by Propaganda Ministei Jose^hS - wafSade 'ST* ~
of the martyrs were read out as the gathered FfiL Y„ ,f ' Tbe names
chorally— "Here'" Affpr m ,„ garnered Hitler- Youth answered

Ham-WesseuZd was agan? pl av S ^ "E? ^ ee " gUn Salutes - **
and the DeutschlandlSd ? V ' ° ll0Wed by &e B ^en W eiler March

reme^ c :foT^e h °dS y a beC r ^ ° f a ™* *V of
became the targets offiSrii^' ^ German Christmas festivities

Goebbels and Rosenberg both used more subtle means. In all cases
however, since this festival had always (even in pagan times) been a private
family or clamc and not a public affair, it did not become a candidate for
massive Nazi liturgy. It posed a new problem: How to develop National
Socialist traditions in private homes. It was 1942 before this began to take
on set forms (outside the SS where Himmler's version of the Yule-Fest had
long been practiced). The festival was to consist of three major
celebrations: 1) of the "troop" (i.e. within NS organizations, military
groups, etc.), 2) of the community, and 3) of the family. During the
Christmas seasons of 1943 and 1944, the Ministry of Propaganda issued a
book called A German War-Christmas {Deutsche Kriegsweihnachten)
which gave a full private liturgy with songs, poems, customs, and legends
Fnis went so far as to present the legend of the dead soldier who returned
for the "holy nights" to participate invisibly in the celebrations of the
family. (Here again is a purely ancient Germanic belief being revised and
revived.)

Ill
BituaLEormulas

The national Socialist sacred calendar was by no means fully developed—
with the outbreak of the war most of the celebrations mentioned above
were eventually curtailed quite severely. Some lost their public
performance altogether and were reorganized in party cells or in the
regular Morning Celebrations (Morgenfeiern).

There were many kinds of ritual used by the Nazis, but a common
formula underlying at least a portion of most of them, and clearly defining
many of them, was a sixteen-point working outline divided into three parts-

^ r Parti: r

Fanfares

1. Marching in the Banners and Flags

2. Common Song

3. Poetic Invocation

4. Choral of the Troops (ritualized chants)

r ^ ^ Part II:

5. The Eternal Watch (Word of the Fuhrer)

6. Choral of the Troops

1 Address of the Hghest Ranking Official (Hoheitstrager)

8. Honoring of the Fallen

9. Oath of Obligation (to dead, to Volk, etc.)

10. Honoring of the Dead (ancestors, heroes, etc.)

1 1. Choral of the Troops

,„ , Partffl:

12. Solemn Vows

13. Common Song

14. Honoring of the Fuhrer (three-fold Sieg HeW)

15. National Hymns, Le. the Horst-Wessel-Lied and the Deutschlandlied

Fanfares

16. Marching Out of the Banners and Flags

■

Again the question arises— whv are we in th* r\ a

mandates, both of the ,Eon and from WalE, L '• " 1$ pm of our

particular formulas. But from a more wfddv bZZ^T ^

these rites are useful and practical L?W 3glCal P ers Pective

Socialism, these are doublv intern 7t l P6CtS ° f National

airy Win^f^SS^S^^ *? f ^^ SOme

but represent ^ReaLgie%T g iaRe^S) ° ! ° f "^ * in,dn ft

creation of a dleTsense o? eff ^J "** 1 gCneral wil1 " of * e ™*. the
bonding of that group to a s of? v "uTT aS W ° rganic S™P> &e
through those symbol bac * *ffi £' * e pr °-> ection of *e group

German people were mv^n * ,««w u • , ss ^^es the

pattern of dynamic tension be E Z ^ ^ *? W3S plaved out ™ a
addressing the faithful at Nuremberg g e Ftt/zrer

per^wffl g^S^oTSf S ? ° De ° f «** ™^> that

Rotwang, Mabuse and£S)^ Si "tf a n f ^ ° f Caligari '

outhned by LaVev— but hpr P mi ,w„„ Ulc ^eansche Vorspiele as
resonance" in th masses tc S^ ° f , Certain "Penological

money. Why? Because the littu ™if •,? themselves often lose
Beyond this Greater Black MwS , producers )> ^ buy records.

"psychological resonant" %mL hv ™ T^ by means other than
Nazis practiced- but for wS JL „?£ u "f* 011 t0 sus P ect *at the
been destroyed. All we have left are fra S ,Z t ^ Were known to have

I
.1'

1-
f

■■*■

A ROOT OF THE "OCCULT NAZI MYTHOS":

Review:
The Occult Causes of the Present War

by Lewis Spence
(Runes V:3 1987)

In reading many of the books which deal with the idea of "Nazi
occultism" one will sometimes find a reference to this book, published in
several editions by Rider in London. Since it was written and published
during the Second World War it is one of the earliest published sources of
this mythos. It must be counted with the works of Rauschning as the
foundation of much of the later literature. When I ordered a copy from a
rare book dealer (its last printing was in 1944) I had high hopes of
uncovering some new information or at least some leads on further
sources. I was encouraged in this hope when I learned that Spence had
intimate knowledge of the German occult-magical milieu in the early part
of the century, and was in fact an initiate of the German Dmidic Order
(Druidenorden). He had also earlier written a book on Germanic
mythology.

The chapter titles of the book seem promising and intriguing enough, i.e.
1: The Satanic Element in Nazism, II: The Satanic Power, UT The Satanic
Power in Old Germany, IV: Witchcraft, Satanism and the Vehmgerichte,

i rir^t tamC P ° Wer k Modem Germany, VI: The Nazi Pagan Doctrine,
VII: Hie Nazi Pagan Church, and Vffl: Nazism and Satanism. But when
one realizes that the entire purpose and function of the 144 pages of this
little book was war-time propaganda, one, pure and simple, one quickly
realizes that not much real information will be forthcoming. The book is
mainly intended as a polemic against everything German or Germanic.
_ //hat is interesting, or at least amusing, from the standpoint of the
history of ideas, is Spence's use of circular logic, e.g. the fact that so many
witches were burned in Germany is proof positive of the Satanic character
of the people. (He sees the churchmen as heroes, preserving "law and
order" by the way!) Also, the degree to which Spence himself indulges in
what the popular-liberal mind of contemporary society would fashionably
condemn as "Nazi thinking/' e.g. his disbelief that any "white men" could
act as savagely as the Germans, or his analysis of Hitler's character from
the shape of his head and face™- Spence dismisses him as a "low-grade
savage."

In reading the book, one realizes that Spence is not so much opposed to
the structures of Nazi thinking as he is outraged by the Germans applying it
favorably to themselves. The book is full of statements of British ethnic

superiority (especially that of the Celtic Scots— Spence's own ethnos, of
course). One amusing aspect of this is Ms insistence that the whole
continent of Europe is infected with Satanism— it is common knowledge
that the British are too decent and fair-minded to harbor such an infamy!
It is easy to see why this book has never been reprinted after the war. It
title suitably relegates it to the curiosity cabinet of history [— and the
author's own racially based logic would discredit the book among its
intended audience of today.]

INFERNAL CONTRAPTIONS

(Runes V:4 1987)

Some Initiates might look upon the working and Workings of the Order
of the Trapezoid as bewildering exercises in Hollywood (or UFA-Berlin)-
style electrical pyrotechnics with little to no relationship to the traditional
magical technologies of fire, air, earth and water. They are both right and
wrong in this assessment. While it is true that the electrical gismos we
sometimes employ as tools in our Workings are essentially non-
traditional— that is what they are supposed to be. The Order of the
Trapezoid seeks to form a Magick of the Future rooted in the eternities
beyond space and time. It is also true that there is a strong cinematic
connection in this "Mad Lab" [Magia Technica] aspect. The article entitled
TRAPEZOIDAL CINEMA (Runes V:l 1987) makes it clear that the use of
electrical and other mechanical apparati for magical purposes was
definitely not simply invented by the imagination of GME Anton LaVey.

Any mention of paranormal applications of technology cannot be made
without reference to two men who probably would have been
uncomfortable with the label "magician." Nikola Tesla invented many
devices that are now used experimentally in a magical context. Principal
among these is the so-called Tesla Coil— the magical applications of which
are just now being unlocked. Wilhelm Reich invented a device called the
Orgone Energy Accumulator which is really a cabinet in which the
operator sat. By means of layers of various organic and inorganic
substances this was supposed to accumulate a sort of quasi-physical vital
energy which was then absorbed by the person sitting in the box.

Within the more self-consciously magical traditions there are two
mechanical contraptions of some note that I have come across in the past
few years of research.

The first of these is the prognometre. This machine was built by the
Polish mathematician-philosopher-magician Joseph Maria Hoene-Wronski
Hoene-Wronski was the man who initiated Alphonse Constant, better
known as Eliphas Levi, into the world of magic. Hoene-Wronski believed
that this contraption could "determine the equations of all past, present, and
future events, such that it would determine that value of every unknown"
according to exact mathematical formula? based on his theory of the
Absolute. A description of this machine is found in Eliphas Levi: Master of

Occultism by Thomas A. Williams. %

The divining machine was built at great expense. It consists of two metal
globes, one inside the other; turning on a cruciform axis within a large motionless
circle, the globes are full of little compartments which open and close, and which
contain the principles of all sciences.

Ee£133E3m

'mm

mz£&$im

GALDR OK SEIDHR

(Runes VI:6 1 988)

This article is substantially revised from one I wrote to be included in

by the Garland Press. Here, I will focus more narrowly on the distinction
between the kind of magic called galdr and that called leidhr m Old NoSe
from a Black Magical perspective. The encyclopedic document of the O -
T. ., is to be called SEIDHR after one of these kinds of magic A true
understanding of what is meant by these terms could provide significant

practice of them by the Black Magician Working in anv idiom

The scienafic definition of magic is a difficult subject, and one that has
been debated for decades. The topic is thoroughly reviewed in me
Germamc-Scandinavian context by me in Runes and Magic. Marie seems to
be vohtive symbohc behavior to effect or to prevent changes in the
environment by means of extraordinary communicative acts with
paranormal factors. Magic is a way for certain human beings to make
things happen that ordinarily could not be made to happen It s Sally
to be distinguished from religion by the fact that the will of me SicTan is

behavior with a universal paradigm.
Id accounts of Viking Age (ca. 800-1100 CE) marie there is a self

Galdr s derived from the ON verb gala: 'to make the sound of a crow or
raven while the etymology of seidh remains somewhat obscure ft too

chanting. By the Viking Age, however, seidh had developed a reputation
for being .somehow "shameful." In the Ynglinga saga (ch 7) it iTrelated

may be that seidh was thought to be "shameful" or unmanly because if

vorS ,m™f t PPCarS t0 bC 3 m ° re strai ghtforward use of symbohc
vocal utterances, often accompanied by visible signs, to impress the will of

graphemes of the early Germanic writing system) were essentially marico-
rehgious tools. Ear y scholarly literature on this subject suffered from
havmg a theoretically ^precise basis, which, I hope has been corrected by

the publication of Runes and Magic. Whether or not runes are in an of
themselves magical, they were used almost exclusively f™ ™„ f t ■

the inscriptions of this period shows that Sf^T^ ) u KV1CW ° f

die magtaar, tn graphic form. Formula, which uJte SJf j5 ul
The faci thai the word used to class these staTEn r.^T- ° f ""-"Is '

in pre-Christian times.

pnmary

cutoS S^frl 011 °l Christianit y "to Scandinavia indigenous
cultural features, such as the runes, slowly began to erode In rt*. fi!w r

S^^WS^?",^ ? ° f ° ld S* 1110 ^ P ubUsh ed by

■.

NAZI OCCULTISM REVISITED

(Runes VI:6 1988)
Versions of the following two articles were written by me as a partial
response to an article which appeared in the Fall 1988 issue of Gnosis
magazine on the theme of "Northern Mysteries." Although the works were
solicited by the editor of Gnosis, they were ultimately not included in the
issue. I feel that each of these pieces speaks to important topics that are
often misunderstood within the body of literature purporting to deal with
the phenomena of "Nazi occultism." They have been re-edited for this
readership.

The Black Magical Reich
By now it is well known that much of what as been written in such books
as Trevor Ravenscroft's The Spear of Destiny is a combination of sectarian

propaganda and pure fantasy. But the questions remain: How a political and
cultural force of the character of National Socialism arise in the midst of a
highly educated modern society? What was the nature and history of the
groups and individuals involved in this dramatic historical episode? These
questions seem to be with us always. Of course, this in itself has little to
recommend it, as the human mind, especially one full of vague fears
anyway, is quite capable of conjuring all sorts of cosmic evils as the media-
driven witch-hunts of the late 1980s showed. "His Satanic Majesty" was
already being invoked to explain Nazism during the Second World War
itself, as Lewis Spence's book The Occult Causes of the Present War (1944)
illustrates. But what is the exact nature of this Devil, of this evil, of this
Black Magic?

To even attempt to answer these questions with any accuracy, little
attention can be paid to the proponents' wilder theories— not at least until
we have gotten some reasonable perspective on the whole. Anyone who has
seriously read any National Socialist writings or propaganda of any kind
will know that no overt appeal to evil or "black magical" 7 powers was ever
made. On the contrary, their enemies were usually charged with such
epithets. Most sensationahstic writers are unable or unwilling to define
exactly what "good" and "evil" is in their tales. They simply assume who
the bad guys are, and assume that we will go right along with their
somnambulistic game.

If the degree of Nazi evil is to be measured by its level of cruelty, then
certainly it can be adjudged no more evil than dozens of other political and
religious systems in this century alone. Although in our quantified society
we may be impressed by the magnitude of numbers, on a moral basis it
really matters little whether one million, six million, or ten million
innocents were put to death. Why, then, do the Nazis make such damn good

villains? fhere are actually a score of reasons why this is so not the least
of which is their own sense of "style." The most "diabolicaT of thern wet
even fashion-conscious enough to wear black uniforms, whi si ver SuT

to go beyond all this. It goes to a level to which most critics dare not
penetrate- a level beyond "conventional evil" to a now very Seerons
realm of moral or even theological evil. In our presently worKX
find this dangerous because confrontation with it is fraughY wiS Ite Y

black-clad, ruthless, empire-building villain This rancre : W, r , •

Luke s father, Lord Vader. The underlying reason fo tms is iat W e
KSS^^^~ ?K « S- they "shou^^H

Faustian Seeker of Knowledge and Power ThkTZv • ^ < With * e

i U !f y u° lmg ' *f cause he J ust wants t0 maintain the status quo sera L

£?' k C A ^T Player '" and P erha P s restore order where it ffiST
disturbed by the evil machinations of the villain

IHnH nf' ^ Tf 1 ? 165 are a " drawn from ficti ™> b"t history is also a

meager facts at their disposal. Sometimes this process can even become
quite trrauonal, as we all know. In anv event weh» VP thTL a Decome

paradigms, or myths, shared with the literary world *"***&

a riTS M ^f C S6tS ° Ut DOt t0 d0 *** wil1 of God or of Nature iusuall v

th ^t^ P fn r S S r St f ^f^ f0r man y P ersons contemplating this is
me degree to which modern (or post-modern) humanitv derive, itl

win peculiar to him or her. The structural implications of

National Socialism are a curious and powerful mix of these two extremes.
Its ability to blend them is based in the principle of elitism. To the Nazi,
the concept of "God" is replaced by that of the Volk ("People" or more
pointedly "Race"). The common man was to become one with the will of
the Volk. The leadership, and most especially the Leader (Ftihrer)
exercised his personal "will to power" in the extreme. This Volk, the
collective organic body of the Germanic ethnic stock, aided by its "priests"
(the leadership of National Socialism) became the center of the deity-
focused as with the individual Black Magician in the individual vehicle.
The Nazis were to separate this new "God" from all others, and develop it
to a new level of being. If there is a crux to the issue of the nature of "evil"
with regard to the Nazis, or to the question of whether they practiced any
sort of "black magic," surely this is it. The Nazi represents a race-based
nationalistic rebellion against the natural cosmic order (or perhaps
"conventional order"), just as the true Black Magician represent that
rebellion in the individual ego.

The individual or collective practice of true Black Magic always seems to
focus on the model of an internally directed and willed process leading to
higher, more powerful or god-like states of being. In this regard, National
Socialism can perhaps be called a form of Black Magic in that it set about
— against the grain of Nature — to evolve itself into a higher, more
powerful god-like race of supermen based on particular national
characteristics. But most critics who throw around such terms as "satanic"
or "black magical" do so with little understanding of this and thereby seem
to be charging the Nazis with little more than excessive cruelty or with just
siding against those whom their psychic script writer has provided with
white hats. But with some further understanding, the problem of the
relationship of Nazism to our concepts of evil becomes enormously more
interesting and far more awesome in its implications for anyone who
contemplates it beyond its historical importance.

Occult Roots of the Spear-Mythfls

When the intrepid investigator begins a descent into the treacherous
subterranean fields of occult connections in the world of political
phenomena, matters can quickly become so confused and so obscure that
the rational mind is soon pushed over what Colin Wilson aptly calls the
"boggle threshold." This usually has as much to do with the way in which
phenomena are interpreted as with the character of the events themselves.

One political phenomenon that has received more than its share of occult
speculation is Nazi Germany. This ranges from war-time propaganda, such
as Lewis Spence's The Occult Causes of the Present War, to the free-
associating mystifications of The Morning of the Magicians, to sectarian
viewpoints, such as Trevor Ravenscroft's The Spear of Destiny, Other

IU ia

occult interpretations of political phenomena. I would Ute to attemm to
clarify one approach in just one of these studies P °

Ravenscroft, in his now famous work The Spear of Destiny imitPri a
sectarian and esoteric viewpoint that Adolf Hider was in S'the
reincarnation of a certain evil genius, Landulf H. Landulf S was
supposedly used as the model for Clinschor in Wnif!! ^ u ,

n i U , h0W ; dld ?»* P™ 1 ™ 1 * ^rsion of the modern mythos'of "Na7i
occultism ' ongmate? Tne key may perhaps be foundTn the person^
Ravenscroft's supposed mentor, Walter Johannes Stein Stein wLl
Anthroposophist who wrote the book WeltgeschichteimnrhZ^ u •,•
Oral (World History in the Light of the Holv Gxtl) in M ? f fe '^ n

Anthroposophical doctrines of Dr. Rudolf Steiner ( 1861 0925)

In Ravenscroft's (or Stein's) historical mythos a specif role nf
wickedness is reserved for the "infamous" gX S 4 f l9m
Curiously enough, Stein's mentor and the founder o ^llTsml J *

that the root of wisdom and JSc^^i^^^^^ 8 . 8 ";
racia stock of the "At-v™*" a a t^ c n °used within the particular

peonies) and iZ fW * X ^do-European or "Indo-Germanic"
evofuSnW S^^"»«« » *e evolution (or re-

(originally) occult thought was not represented by any single organization,
but was used as a generic term encompassing dozens of groups and orders'
Chief among these were the Guido-von-LIst-Society and the Ordo Nov!
Templi headed by Liebenfels. Steiner's development took another
direction, but one which explains well why Guido von List and the
Ariosophists would become a perfect model of "evil" from the
Anthroposophical perspective.

Writing In his study entitled The Occult Movement in the Nineteenth
Century (pp. 29-30), Stelner says that "right occultism" is that which seeks
a spiritual goal for its own sake, identifiable with the universal-human,
while "left occultism" is that which seeks "its own special aims." Here '
Steiner is speaking In terms "right" and "left" more in the sense of the right
and left hand paths rather than in political jargon, although this may have
had some relevance as well. Steiner, of course, sees himself In the "right,"
working for the benefit and evolution of the universal-human In Anthropo-
sophy (Human- Wisdom). It Is clear that Steiner would have seen heinous
"leftward"- leaning tendencies first In Theosophy Itself (from which
Steiner broke in 1913) and most especially in the widespread and
multifaceted "Ariosophlcal Movement." In the latter, he would have seen to
be using occult means to promote the particular interests of a single faction
of humanity over all others. This originally occult Ariosophlcal doctrine
was subsequently politicized and made a founding principle of the Ideology
of National Socialism.

It Is fairly obvious that the roots of the sectarian mythology codified in
Ravenscroft' s book are to be found in the esoteric doctrines of Rudolf
Steiner, as Interpreted and taught by Walter Johannes Stein to Trevor
Ravenscroft. Moreover, It Is clear that the notion of the particular form of
"Nazi evil" has, for this esoteric school, more to do with the fact that they
belong to the spiritual "left"— pursuing their "own particular aims" —
rather than to the universal-human "occult right" as envisioned by Steiner.
Like certain other occult thinkers of the Right-Hand Path, Steiner made-
many accurate observations with regard to the character and relative
structures of the Right-Hand Path and the Left-Hand Path. However, from
the perspective of the Left-Hand Path itself it is obvious which path is the
one filled with virtue and power.

[Commentary 1995/XXX]
Subsequent research clearly shows that the esoteric "right" : "left"
dichotomy posited by Steiner was carried forth by Walter Johannes Stein In
the form of certain universalistic socio-economic theories. Stein
esoterically held that the blood of Christ entered the Earth at Golgotha,
making the whole Earth the physical Body of Christ, and this "esoteric
fact" is to be realized through the development of "a world-embracing
economy." This economy "directed from a universal point of view" Is

predicated on the dissolution of national frontiers. This world-economy
was to be directed by a nebulous body called the "Order of Christ"—
presumably a dedicated band of friendly, hard-working government
bureaucrats (cf. the IRS, UN, etc.). Stein held that "The creation of a
system of World Economy is the real mission of the Anglo-
Saxon/Germanic people, "t Stein was in fact brought to England in 1933 bv
British business magnate Daniel Nicol Dunlap to aid in the operations of
the World Power Conference (later known as the World Energy
Conference) In England he continued to work- this included acting as an
advisor to Winston Churchill (who became a "patient" of Dr Stein who
was a homeopathic practitioner).

In stark contrast to Stein's universalistic theories of global economy
based upon the presence of the transubstantiated blood of Christ in the body
of the Earth are the National Socialist economic theories based upon the
existence of discreet individual Nations (Vdlker)— who, linked to their
own part of the Earth — compete with each other for the world's
resources. The NS aim was to establish an economic space (Lebensraum)
commensurate with their economic power. This economic system would
then become fully independent and self-sufficient- remaining apart from
the rest of the world economy. The esoteric basis for NS economics is
rooted m the idea of Blood and Soil (Blut und Boden)

Each of these economic theories talks about Blood and Soil of course
The esoteric . "right" sees a one-world economy with no national borders,
theesotenc left sees individuated national economies functioning in
relative isolation. The "blood" of the "right" is a collective entity —
embodied m the notion of a universal Christ and the "soil" is the whole
Earth while the "left" sees the "blood" as a metaphor signifying the Nation
(Volk) and the "soil" is the physical land or space occupied by to Nation
These issues — exoteric though their manifestations may appear as they'
flicker across the television screen on the evening news — are clear and
present esoteric realities facing us today.
Again the question is to be posed: Where does the true evil lie'?

Holy S^p^S^ 31168 LaWrfe iH " <D ° Ct0r St ° ne ' : Walter Stein wd **

ON THE CHOICE OF A HUMAN SACRIFICE.

(Runes VILA 1989)

These are the words that begin one of the chapters of The Satanic Bible
by Anton Szandor LaVey, and they are words which have come back to
haunt the Left-Hand Path movement again and again. In writing them, in
the context which Dr. LaVey made quite clear, he was and is perfectly
justified. However, the recent events in JVlatamoros coupled with the deep
levels of misunderstanding surrounding the whole notion of "sacrifice" and
the use to which a Satanist or even neo-pagan might put this magical
technique needs some historical and philosophical clarification.

This whole question is the subject of a hidden reality which is the true
knowledge of what a sacrifice is and what its uses are. An aspect of this
hidden reality involves the fact that what is commonly referred to as
"sacrifice" in popular jargon in reality comprises two radically different
kinds of acts.

At this time we need to be quite clear about what a sacrifice is and what
our relationship to the practice is historically and philosophically. In Setian
circles the term "sacrifice" is rarely, if ever, used in any context, as most
Setians have evolved beyond the stage where such practices are useful— at
least as they are commonly understood. But with the constant references to
"Satanic" animal and human sacrifices, I thought it would be useful at this
time to contribute a study of the technique.

2MT wo Approaches to Sacrifice
First we should clarify our terms. The English word "sacrifice" is
derived from the Latin sacra-ficium, which literally means "something
which has been made 4 sacred 9 " or "something which has been separated out
from the profane." The Anglo-Saxons had a whole nomenclature for
"sacrifice" also, but most all of them would only confirm what seems to
have been a common Indo-European attitude toward the practice of
sacrifice, i.e. that it was a holy gift to a god and that it was at the same time
a gift in return to the populace worshipping (i.e. honoring) that god.
Examples will make this concept clear. Radically different from this
conception is that held among other peoples, notably the ancient Hebrews
and Aztecs (just to name two). For them "sacrifice" was exclusive payment
to a god for favors granted or as a mode of expiating sin. This latter
concept has come to dominate our thoughts when we think of sacrifice
today. We think of nubile virgins being offered up to the Aztec Sun-God,
or the Fire-Goddess Pele in Hawaii. To us now that seems a superstitious'
waste— which is might well be. The point is that in European culture such
a concept was unknown until the introduction of Christianity, and with it
the Old Testament lore of the ancient Hebrews.

Because the study of sacrifice is an extremelv comnW ™»
given culture, I will limit myself to discusshS ; of Te fwn °v '7^ WUh ' n a
most in question right now- animal ShZLr, fandS ° f Sacnfiee

Certain animals are thought to nrivZ.. ^ ere * e amma] S lfts -

of Odhinn. These animals would be slauSdhv 8 ? a0rr ' ^ horse

a ceremonial meal In this wav th^ ,nri ;J ui n by the P eo Pk m

eW~ » t^ • P? ori ^ m of our current euphemism "to nut tn

sleep. This is important because th<* cm,-™i ^u^.f , . to put to

loved by the folk, and dms ^w™!^.^^^"? *

traditional Indo-European animal sacrifice k i» rlr! P ^ e

in which the gods and hum^s svmSfu ty a sacram ental meal

of law and justice, while Odhinn is the god of masic death IZ a g

1 1

repay the wronged god or goddess with their lives.

One other kind of human sacrifice, more seldom encountered for
obvious reasons is the sacrifice of the king. If things were to go especially
badly for a kingdom, for example the crops failed repeatedly, or the
frontiers were continually unsafe from invasion, the semi-divine king who
was known to some of the Germanic as well as other Indo-European
groups, would more or less voluntarily offer himself as a victim of
sacrifice in order to rebalance the cosmic order in favor of his people

It we compare the general Indo-European attitudes toward sacrifice with
the ideas contained in the "On the Choice of a Human Sacrifice" text by
EaVey, I think we can see that they are virtually the same LaVey
essentially says that those who have wrongfully harmed you to an extreme
degree are the prime candidates for "human sacrifice"— through magical
not physical means. In this he is right in line, not only with the traditional'
ancient thoughts on sacrifice, but also with philosophical proponents of the
state imposed death penalty. In the matter of the sacrifice of the god-form
in animal shape, LaVey shows no evidence of a desire to make use of this
He is righteously indignant over the thought of sacrificing animals or
children for any purpose, as he holds animals and children to be the purest
expression of the god-head of carnal existence— as he conceives it

But what about the model of sacrifice as portrayed in the lurid accounts
of the supposed activities of "Satanists"? Where could these depictions have
come from if the pagans of Europe did not indeed practice anything like it?
Ihe answer is rather simple, but it is one that makes the establishment quite
uncomfortable. H

Any reading of the so-called Old Testament, or the Torah of the Jews
will show a highly developed cult of not only animal, but also of human
sacrifice. The ancient Hebrews did not share in a convivial meal with their
god or gods, but rather offered the animal to him completely. Not only is
this attested in the Old Testament, but rules and regulations concerning its
practice make up whole parts of the books of Leviticus and Numbers
These books are veritable charnel houses with instructions to make burnt
ottenngs of massive numbers of animals of various kinds. Yahweh must
have grown very fat from the glut of burnt flesh the temple priests sent his
way in those years.

Ahtough the Jews must have given up the regular practice of human
sacrifice at some time, their holy books still have some references to it
The most famous case is the little practical joke Yahweh played on
Abraham— where he tells Abraham to sacrifice his only son, Isaac but
stops him at the last minute (Genesis 22). Now this is actually a
representation of the fairly common Semitic practice of the "sacrifice of
the first fruit" which was at one time extended even to human offspring
But not to leave the girls out: There is also the story of Jephthah (Judges

1 1) who vowed to offer ^ n k»™* rr .

victory u , the war against the "sonsTf AmTo ' » l 80 ,, T W grant Wm
the first thing that came out of his hon«^T u "' after Ws vi «ory,
"with timbrels and dances." It seems Wh.h^' *"" Was his onl y daughter

goat? Anyway, Jephthah madeeood on hi "^ ° Ut ° f Ms hous e- a
still v//#» daughter. g ° d ° n hlS vow t0 sacrifice his only, and

""" K "5w uaugnter. w -"^"^c ms only, and

^ftSS nS.B^X t0 no?r y 1S0, f d "~ - * spice

womb at one time or another The HeWwc , f ?* flrst fruit of the
to have to "buy back" the first born son fr "^ ft is stil] customary
ceremony called thepidyontb^ it g0± ™ s is sti « done in a

dedicating the son to "temple servic » w u aS , later chan g ed to
with a few shekels paid SffiKS" * e hd Can be bou g* back

^SSSiSS^SSSt^ * C ° UM be « for through
wh aS Seen from a Jud a* perspective r ° 0t ° f * e ^ of

civihzed" European mi?hf «iii 7^7 Py becaus e the modern

*e same time this "civihzed" man has been \ ^i Whatever Dame - B «t at
historically heathen is to be reS as ^IT^ *? Which is overtI y and

Christian paganism in Europe The sb™T CM ? lt J hl J1 ston <al forms of pre-
have thought that all foms of pre ChS ' ChriStian JUSt ^

wrongly ascribed to European pTanTw t Testa ™ ent Practices were

Christian historicizing w£S££££ e ^ ** thJs meth ° d of

described the Jewish cult- S.K degrade f cult « - as Tacitus
Pagans, heretics (including Jews) 7 de IT™ 8 £* t6XtS ' now ascri Wng to
formerly (and sometimes LcuSly StaS^E"", * e practices
Christians. In this way stories nf tZ attnbuted t0 the Jews and/or
the Middle East, JfijST Z™, ° f Sacrifice ' as P^ticed in

propagandist, television iS^SSS^ ^ Sensati( »c and

The cruel irony In all this Is that the ideology "guilty" of all the
apparently unacceptable beliefs and practices is never Identified or assailed,
while the Ideology with the balanced and healthy view has become the
target of various forms of bigoted attack. It should not be assumed that I
am here criticizing the rights of various cults to practice whatever form of
sacrifice they wish, or that historical forms of various religions are being
vilified wantonly. It is merely a matter of seeking and finding — using
rational and historical means of Investigation — the sources of the various
patterns we encounter and laying the results of our investigations at the
proper doorstep.

: ';M

Bibliography

Angebert, Jean-Michel. The Occult and the Third Reich New

York: Macmillan, 1974.
Aquino, Michael "Evolution of the Order of the Trapezoid

Insignia" Runes IV:2, pp. 1 146.

— — — — — _. Book of Coming Forth by Night: Analysis and
Commentary. San Francisco: Temple of Set, 1985.
j -—____, The Church of Satan, San Francisco: Temple of Set,

Barlow, John D. German Expressionist Film. Boston: Twyane,

1982.

Flowers, Stephen E. Runes and Magic. New York: Peter Lang

1986.

Weiser, 1989.

1994, 2nd ed.

.. Lords of the Left-Hand Path: A History of Spiritual

Dissent [Privately printed MS, 1994.]

Frater U.\D.\ Practical Sigil Magic. St. Paul: Llewellyn

1990. y '

Goodrick-Clarke, Nicholas The Occult Roots of Nazism
Wellingborough, UK: Aquarian, 1985.

Grant .Kenneth .The Images and Oracles of Austin Osman Spare. London
Muller, 1975.

Hall, Edward T. The Hidden Dimension. Garden City NY-
Anchor, 1969.

Hollander, Lee M. ed., trans. Poetic Edda. Austin:
University of Texas Press, 1962.

LaVey, Anton Szandor. The Satanic Bible. New York' Avon

1 C\£C\ J

1969.

•. The Satanic Rituals. New York: Avon,

1972.
Lawrie, Chrarles. '"Doctor Stone': Walter Stein and the Holy Grail." In-

Matthews, John, ed. The Houshold of the Grail Wellingborough *
UK: Aquarian, 1990, pp. 120436..
List, Guido von. The Secret of the Runes, trans. Stephen E.
Flowers. Rochester, VT: Destiny, 1988.

r I ! I;
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1 966. 1 ork ' Gr »sset and Dunlap,

Mosse George L -The Crisis of German Ideology Intellectual

Origins of the Third Reich New Ynrl- r mmie f tual

pa "t i S5" I S""" / "" A ' < "'* N » Y * Vm Norstrand

"""Kfc" I «f *"" C ™ <**> "'"" »«r- Lo„d„„:

Stem, Walte, Johannes. HMsocS&to, ,„ £ , C , 1K ,

„ Rudolf S«Sr?S"[OT3r"' ™ * ""'""'" C ™?' (Lo»*»:

Sustet, Gerald. ffi„„ , he o ccu „ MmlA New ^ fc ^ ^

lWo». Ed*d. R„e Mi s k,. St. P aul , MN: LIevvd ,

. Northern Manic cv n , ,„ wcu / u ' ^«y.

Vondung, Klaus Mw undManLll ,. r^ LleweI1 ^, 1992.
Ruprecht, 1 97 1 40ZW «»w». Ciottingen: Vandenhoeck und

Wolfe, Bmon %£ WvT^ ° f ^^ ***- l ™.
Wolfram vonEschenS. ftST^Jff FT* 1974 '
Passage. New York: v£2ge S * MuSt3rd and C

IIP,!

■..-.-. -V - :

UMi

HMl

S&aiS&fia

N£

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