I. VAMA MARGA Foundations Of The Left-Hand Path - staticfly.net

simultaneously" Describing Spare's younger days, when his dashing good
looks were still capable of attracting real (rather than astral) women, Grant
wrote that "such was [Spare's] hunger that in one night he copulated with
eighteen woman, calling these outbursts: Dionysiac spasms of pansexualism
in which he had visions of all things fornicating all the time," an idea similar
to Crowley's description of Babalon as "constant copulation or samadhi on
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everything." Spare's recognition of the Feminine Daemonic is a major part of
his work, as illustrated by his claimed magical tutelage as a youth by a
woman he described as a "witch."
It is primarily through Grant's explication of Austin Osman Spares's
magical practice that the sexual utilization of sigils has become such a
commonplace practice among modern magicians, although it is the advocates
of the school of Chaos Magick that have taken credit for this trend.
We are of the opinion that Spare's magic was most effectively
communicated through his often erotic artwork. Thus our sparse coverage of
his oblique theory and practice, which in its extreme subjectivity seems to
have been more of a personal method than a teaching communicable to
others. Nevertheless, the visionary creation of powerful images, in which
Spare excelled, is in itself an act of magic. Spare makes for an instructive
example that the sex magic of the left-hand path need not be communicated
only through the left brain's rational prism; the surreal image-producing
faculties of the right brain may be an even more forceful medium. (Much the
same could be said of the accomplished magical artist Rosaleen Norton,
whose practice of a demonic sexual magic and her erotic esoteric paintings
scandalized her native Australia, but who left behind no specific teaching or
practical written record of her thought.)
Grant, as long ago as the 1950s, was also the first magician to posit
the fictional dark gods of H. P. Lovecraft's Cthulhu mythos as a genuine
pantheon of deities. This line of thought, in its most debased form, has
unfortunately led already delusion-prone magicians to adopt Lovecraft's
horror tales as a form of religious scripture, even inspiring some to perform
erotic rituals to attempt contact with these fictional beings. Lovecraft, himself
a sworn atheist and sexual prude who rejected all forms of magical thought
and recoiled from feminine contact, must truly be spinning in his grave at the
idea of sex magic for Cthulhu. But in his often derided connection of the UFO
phenomenon and Lovecraftian fantasy fiction with sex magic, Grant is also
very much in the otherwordly lineage of Jack Parsons, for whom the
distinction between sci-fi daydreams and sexual sorcery was often blurred.
And yet, even if his scholarship often stands on shaky ground, Grant
must be counted as a force to be reckoned with as the first author to firmly
place Western sex magic and the Babalon current in context with the
authentic left-hand path, which he accurately describes as the Vama Marga.
Rather than rest on Crowley's laurels, he provided modern sex magicians with
untried Eastern keys to erotic enlightenment, propounding a sex-magical
apocalypse that can be seen as a Western emanation of the Kali Yuga. Ile has
been accused by his detractors of humorlessly wallowing in the slime of an
adolescent obsession with naughty sexual depravity for it's own sake. His
admirers just as ardently hail him as a sinister visionary who will be
remembered as the only creative and original sex magician to emerge from
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the group of young men who were Crowley's final students.
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BOOK THREE:
The Sinister Current In Action
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