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It sometimes strikes me that the whole of science is a piece of impudence; that nature can afford to ignore our impertinent interference. If our monkey mischief should ever reach the point of blowing up the earth by decomposing an atom, and even annihilated the sun himself, I cannot really suppose that the universe would turn a hair.
-- Aleister Crowley
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N.O.X |
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Post subject:
 Posted: May 31, 2008 - 04:40 AM
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Joined: Oct 24, 2005
Posts: 192
Status: Offline
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Quote: ›
Another moment which I felt was very powerful and significant of the time/space travel, found throughout the book, was at the end when the child KG describes himself crying to his father when he learns that Robin has died within the story and his father subsequently revealing the power of "eternal recurrence."
I just wanted to say that this moment in the book was probably my favorite in the whole experience that is ATL. This book is indeed an EXPERIENCE. HMMMM, all this talk has made me decide to do another read through this book before Circles arrives! |
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MichaelStaley |
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Post subject:
Posted: Jun 02, 2008 - 02:15 PM
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Joined: Apr 21, 2004
Posts: 774
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There's been an extremely interesting diversity of views in this thread. Thanks to all who have so far contributed to this discussion.
At the launch for Outside the Circles of Time on Saturday evening, I read out a few paragraphs of appreciation of Grant's work by Henrik Bogdan, who as most will be aware has compiled an extensive bibligraphy. Henrik described Grant's work as surreal occultism. It reminded me of the front cover blurb for Snakewand, where he describes the characters therein as siderealised portraits:
Kenneth Grant wrote: › Many were the magicians and mediums who passed through the Lodge, and some of them feature in these tales. Their mundane personalities may not have appeared unusual to casual observation, but when elongated and siderealised by the unique perspectives which their magical roles created for them, they achieved an aoptheosis, an epiphany. This extraordinary phenomenon demonstrated the heights and the depths which human nature is capable of scaling, and of fathoming, in the delirious frenzy inspired by their art.
The tales are likewise orientated to the other side of a reality rarely glimpsed outside a magically charged Circle.
I remember when I first read this blurb, being struck by the analogy with the technique of siderealisation or attenuation most commonly associated with drawings and paintings by Spare. It is also perhaps akin to the technique which Grant mentions in the Introduction to The Ninth Arch, whereby scenes from novels (most commonly from Rohmer's Dope or Marsh's The Beetle) were dramatised in a ritual setting.
Best wishes,
Michael. |
_________________
"It's all in the egg".
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magispiegel |
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Post subject:
Posted: Jun 03, 2008 - 09:42 AM
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Joined: Nov 21, 2005
Posts: 463
Location: London
Status: Offline
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Hi Mick,
As you very well know, 'Faunesque' is a very interesting example of siderealisation. If you look at it from straight ahead, it looks as if the portrait of the satyrs head is elongated or stretched, reaching outwards or siderealising into the dimension of the aethereal phantasms encircling his head like a ghostly auric corona. However, Ben told me that if you stand about a foot above the picture and slightly to the right of it, looking downwards...you will see that the elongation of the head no longer exists, and the face looks like it is in proportion again?! Spare was a very clever draughtsman indeed...
Best Wishes
Charles |
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the_spurious_simon_iff |
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Post subject:
Posted: Jun 03, 2008 - 11:15 AM
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Joined: Jan 30, 2008
Posts: 35
Status: Offline
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>>if you stand about a foot above the picture and slightly to the right of it, looking downwards...you will see that the elongation of the head no longer exists, and the face looks like it is in proportion again?!<<
Do you think he'd had a few drinks before he sketched it? |
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magispiegel |
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Post subject:
Posted: Jun 03, 2008 - 11:25 AM
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Joined: Nov 21, 2005
Posts: 463
Location: London
Status: Offline
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Could av?
Maybe at 'The Windsor Castle'  |
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ErichZann333 |
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Post subject:
Posted: Jun 05, 2008 - 04:36 PM
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Joined: Apr 07, 2006
Posts: 55
Location: Rue d' Auseil
Status: Offline
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Interesting Michael, I especially like the description of Mr. Grant's work as surreal occultism.
I have never heard of the term 'siderealisation' but when reading the quite literal interpretation of of Charles I am reminded of anamorphosis, a technique that was developed and much used in the Renaissance, Holbein's 'The Ambassadors' being perhaps the most famous example.
I am familiar with the surrealist DErealization which also echoes through in Against the light and as can be noticed in the book Mr. Grant is also a great admirer of Salvador Dali and he also befriended the surrealist Ithel Colquhoun which in my opinion makes him indeed a surreal occultist. |
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