For example, we often hear that necromancy was outlawed because it was a devilish practice that depended upon the power of Satan for its effectiveness. What you do not hear is that necromancy was an aspect of ancestor worship, and that part of outlawing it involved making it illegal to bury your family members on your own land. Suddenly, you were required to bury your dead in Church-sanctioned graveyards. This effectively removed one of your most solid claims to ownership of your ancestral land. It was no longer the place where you could prove your forefathers lay buried. It made it easier for authorities to come along and kick you out of your home and take state ownership of the land your family had left to you. This also supported the ultimate goal of breaking up family clans, and the political power and wealth that often went along with them.
—  Aaron Leitch, Folk Tradition and the Solomonic Revival; At the Crossroads
[Witchcraft] is quintessentially wild, ambivalent, ambiguous, queer. It is not something that can be socialised, standing as it does in that liminal space between the seen and unseen worlds. Spatially the realm of witchcraft is the hedge, the crossroads, the dreaming point where the world of men and of spirits parlay through the penetrated body of someone who is outside of the normal rules of culture. What makes this all the more vital is the way in which the landscape of witchcraft is changing. Ours is a practice grounded in the land, in the web of spirit relationships, in plant and insect and animal and bird. This is where we must orientate our actions, this is where our loyalty lies.
—  Peter Grey, Rewilding Witchcraft
…Traditional Witchcraft is a poetic reality of night and nature that, whilst adopting various guises, gives form to the possibility of the incursion of the other. It is here we find the nerve of the Craft. It is the song of those who cross hedge and veil, it is the fire of those who make their fate and it is the memory of blood and need making signs across the scales of the earth…
—  Nicholaj de Mattos Frisvold, “The Other Blood, A Prelude,”
from Serpent Songs
The divisions in magic are false, in that the information that we’ve previously been talking about is freely available. When Crowley was initiated into the Golden Dawn, there’s an anecdote where he talks about being sworn to absolute secrecy and then being given the Hebrew alphabet. Even then, Crowley is mocking the stupidity of this amazing degree of secrecy over a piece of information which is absolutely available. Occult groups really need to be aware of the fact that all of the secrets are out, and so it’s probably time to stop playing the game of ‘we’ve got a secret’ or 'we have initiated knowledge.’ Because quite frankly you can tell if people have connection, and connection is what we find counts, rather than lineage or initiation. People have either done the work, or they haven’t done the work. They have contact, or they don’t have contact. They either have physical practice or they don’t have physical practice. That’s what we’re interested in.

Peter Grey of Scarlet Imprint (via an interview with Occult of Personality)

This just about sums up my feelings about everything.


In the last gasps of 2014, I prepared again something for Scarlet Imprint - these both illustrations: “The Plant Phoenix” and “Homunculus”, are part of “Alchemy Rising: The Green Book” (shown in the picture) by Heliophilus. As the first in a series - this book came to light almost a year ago. Touching topics of mysteries in Alchemy.

If you care, copies are still available at their web page, traditionally as a high quality binding.

(Photos: Candy Welz)

The Devil is protean, he changes as we change, our closest companion from cave to the starry heavens. This is why we cannot leapfrog him to engage with a horned god of our supposed Celtic forebears. Witchcraft is meaningless if we use it to retreat to an imagined past and play at being the very different people who inhabited it. The injunction of the mysteries to know thyself precludes this kind of escapism. The gods of the past came from the soil, the social conditions, and ours must too, none more so than the Devil. He paws his way out of the farrowed fields unsettling even the crows.
—  Peter Grey, Apocalyptic Witchcraft
There is no escape. Witchcraft is already as dead as a hag, as barren as the moon, as contaminated as the tar sands. Yet witchcraft is born again in this sacred despoiled landscape, and will be despised as an abomination by those who cannot navigate by the candlelight of guttering stars
—  apocalyptic witchcraft, peter grey
Recognize that something sinister has been sculpting the landscape of dream. We are seeing an unprecedented colonisation and colonialisation of the dream worlds. When we discussed incubation it was made clear that the Ancient World understood the importance of dream, and since then it has been accumulating a grey silt. The dream world is becoming as polluted as the natural world, as despoiled. Before we can even reach the Asclepium, our minds are chorusing with chatter, assailed by demands. The previous strategy of ‘thou shalt not have unauthorized dreams’ has been superceded by a more terrible strategy. It is not simply dream which is derided as meaningless, but every aspect of our lives. In a parody of Hasan Il Sabbah, nothing is true and thus nothing permitted. We parade our inner selves which are revealed to be no more than loyalty to a sect of compatible brands. When we see ourselves and the world around us we do not recognize the sacred. Our culture has devoured itself. It is little wonder that Christianity sees the end of days, that Islam retreats to medieval certainties, that everyone else is plunged into their digital soma slavery.
—  Peter Grey, Apocalyptic Witchcraft
Over the last century, a new power narrative has emerged that warps archaeological data into a specific shape the way a magnet affects iron filings. It is the unspoken belief that humanity is on a journey from /worse/ to /better/, from primitive to complex, uncivilised to civilised. Our civilisation of perpetual war, total surveillance, obesity, runaway mental illness, overmedication, environmental degredation, widespread unemployment and scientific materialism has nothing to learn from the past because it is better. Enjoy that smartphone made by suicidal Taiwanese slave labour. Continue shopping.
Fascination can be a mark that you are being called by spirit, though a desire for plaster statues, tridents and trappings can be to mistake an aesthetic appeal for a genuine connection. You would be wise to keep your work more private than seeking approval for it on the shifting digital shores of fashion, or the back eddies of subculture. We already see many crass attempts to co-opt these spirits which do a great disservice to them and their lineage.
—  Peter Grey, A rose by any other name: Babalon and Pomba Gira
Rebellion has become a marketing device designed to exploit the developmental stage of sexual awakening and differentiation in modern teenagers, who have no formal initiation ritual into adulthood. It is part of a deliberate strategy to create consumers, subverting the drives of social and sexual dissatisfaction by channelling them into brand loyalty and consumption, rather than questioning the values of the corporate state. It avoids the crisis of initiation to keep the population dependent and uncertain in a perpetual ‘kidulthood,’ whilst simultaneously breaking social cohesion in favour of the individual - by which is meant the individual as production/consumption unit rather than sovereign. Rebellion is therefore employed as a key element in commodification. 'Individuals’ are simultaneously hyper-sexualised and de-eroticised.
One response to the end of privacy, which is not projected, but here in present time, is to simply display everything. Artists such as Genesis Breyer P-Orridge have taken this approach. So too have individuals who have been ‘slut shamed’ or been the victims of hacking and revenge porn, and gone on to post their own naked images to reclaim control and by extension power. These are not strategies that I disagree with, they confront fear and challenge the idea of shame. It is an action of the strong, and an approach often taken by those working with Babalon, they return the gaze: a very important principle. They state: I am not your object. I am sovereign. Here is my body, deal with it, look at me. I deny the hold of shame over my actions. This recalls the power of witchcraft, of the eye. Invidia is one of the seven deadly sins. It says that you cannot look at the property or fortune of another. You tarnish it. Women in particular must not look, the gaze is the domain of men and capital, which the power of the eye inverts in the hourglass of retina and lens. Though we can read invidia through feminist discourse as a mechanism of patriarchy, or through Marxism as an expression of property relations, these materialist worldviews strip us of recourse to the power of the eye. In effect they negate this fundamental magical power. My position is this: some women are witches, some people have the eye. We must not relinquish the tools of malefica when we apply the tools of analysis. To develop looking and the gaze is to defy the primacy of the panopticon, we return the basilisk stare. We penetrate their dreamspace, we walk through their locked doors, we kill their futures. Working with candle and mirror we move through the worlds, we are not kept in by the curfew. It is both self-defence through the projection of power, and the ability to alter fate. We are the abyss staring back at power.
—  Beneath the Rose, Peter Grey. March 21st, 2015

“The Red Dragon & Goat of the Arte”. Pen and ink on nostalgia paper, 2013. Part of Volume I of II of The Testament of Cyprian the Mage by Jake Stratton-Kent.

“I turned several leaves upon one I found perfectly drawn a Dragon and a goat calmly laying together. The goat had drawn upon its knees hieroglyphics that read Arte. As I looked upon this it seemed both strange and yet familiar: but a still greater surprise was awaiting me. The dragon and the goat became enlivened, moving their eyes and increasing in size. Finally, leaving the book, they were prostrated before me; each speaking these words in a human voice: I am your servant, command and you will be obeyed.”

Some will be afraid of this knowledge; witchcraft should be liberated by it, liberated from petty concerns to pursue lives of beauty, liberated from the sleepwalking into death that our culture has made for us and our children. So I counsel, confront death. For witchcraft to be anything other than the empty escapism of the socially dysfunctional or nostalgia for bygone ages, it needs to feel the shape of its skull, venerate the dead and the sacred art of living and dying with meaning. We are all on the fierce path now.
—  Peter Grey, Rewilding Witchcraft