Skylight Press – förlag

Originally published in 1975, Experience of the Inner Worlds is a classic magical textbook of the Western Mystery Tradition. Covering a wide range of topics within a Christian-oriented Qabalistic framework, Gareth Knight explains the difference between magic and mysticism, natural and revealed religion, monism and theism. He also covers the practicalities, examining methods of inner plane communication, contact with the Masters, the 'consciousness' approach of Carl Jung, the vision of Dante and the archetypal power of the Hebrew alphabet - all within the context of the Qabalistic Tree of Life. The book also contains powerful visualisation exercises and examples of communication with angelic and elemental contacts. While this book can be used as a course of self-instruction, it is also an important modern reference book of magical theory and practice, and has been used for decades by students of Western Qabalah and magic.

The world of magic is one of high imagination. In this wide-ranging historical survey Gareth Knight shows how the higher imagination has been used as an aid to the evolution of consciousness, from the ancient Mystery Religions, through Alchemy, Renaissance Magic, the Rosicrucian Manifestos, Freemasonry and 19th century Magical Fraternities, up to the modern era. Knight considers magic as a middle ground between science and religion, reconciling them in a technology of the imagination, which properly used, can bring about personal regeneration and spiritual fulfilment. He uses Coleridge's theory of the imagination as a basis for the validity of magic as science and art in its own right. Many systems and structures have come down through the ages slightly shoddy, misrepresented, maligned, misaligned. With this book a deconstruction becomes a recycling of raw material for the purposes of re-ordering and re-configuring - a righted prism, a shored up temple, a foundational re-ballasting.

For a period of ninety days in 1993, Gareth Knight received a sequence of communications which seemed to come from three inner plane communicators who had worked regularly with Dion Fortune for much of her life. Forming a series of teachings and practical meditations which later became important knowledge papers issued to the Gareth Knight Group, the scripts construct an elaborate and multi-faceted magical image of an "Inner Abbey" which serves as a focal point for a wide variety of magical purposes and the evolution of consciousness. As well as providing vivid magical forms and pathworkings within the structure of the abbey, the papers discuss at length the development and use of such magical images and how to establish the magical vortex which empowers them. Three years later, while working with the Inner Abbey papers, Knight's daughter Rebecca received a further series of communications which augment the original material and add a practical example of its use, culminating in the Chapel of Remembrance ritual, a magical vortex focused on spiritual resolution for war victims.Now published together for the first time, the scripts provide a tried and trusted construct for personal magical work along with a fair amount of practical advice on occult and mystical techniques. It is open to the reader to follow up on this to find their own way into the Inner Abbey and come to a personal judgement of its experiential validity.

Immediately following Britain's declaration of war in 1939, Dion Fortune began a series of regular letters to members of her magical order, the Fraternity of the Inner Light, who were unable to hold meetings due to wartime travel restrictions. With enemy planes rumbling overhead, she organised a series of visualisations to formulate "seed ideas in the group mind of the race", archetypal visions to invoke angelic protection and uphold British morale under fire. "The war has to be fought and won on the physical plane," she wrote, "before physical manifestation can be given to the archetypal ideals. What was sown will grow and bear seed." As the war developed, this was consolidated with further work for the renewal of national and international accord. For the first time the Fraternity's doors were opened to anyone who wanted to join in and learn the previously secret methods of esoteric mind-working. With unswerving optimism she guided her fraternity through the dark days of the London Blitz, continuing her weekly letters even when the bombs came through her own roof. Introduction and commentary by Gareth Knight.

Potent medieval faery lore and hidden goddess traditions for the 21st century. Gareth Knight explores and reveals the hidden mystery of the Faery Melusine, a major figure in medieval French lore and legend. Through vivid interpretation of original source texts, Gareth Knight shows that the Melusine story is a powerful initiatory legend emerging from the deeply transformative Faery Tradition of ancient Europe. Furthermore he demonstrates how such legends manifest as history: the innate sacromagical power of Melusine affected key places and events in the development of the medieval world and from there reached far into the shaping of the modern world through the conflicts for Jerusalem and the Middle East. Gareth Knight is the author of many books on magic, occultism, and esoteric tradition. His work is known world-wide and has been influential in the development of the contemporary magical revival.

Dion Fortune encoded much practical magical lore within her novels, leaving it up to the reader to work out how to make use of it. Behind the novels were two major rituals, the Rite of Isis and the Rite of Pan, which Dion Fortune occasionally performed in public in the 1930s as part of her drive to open up occultism beyond the closed walls of esoteric fraternities. Now for the first time, these important magical workings have been released from her society's archive in their complete and original form. Edited and explained by Gareth Knight, this book contains the full text of the original Rite of Isis and Rite of Pan which formed the basis for Dion Fortune's Moon Magic, The Goat-Foot God, and The Sea Priestess. Further archive material elucidates the practical magical principles found in The Winged Bull. The book is supplemented by several articles written by Dion Fortune in the 1930s which shed further light on the practical content of her novels, including the essay Ceremonial Magic Unveiled, a review of the work of Israel Regardie in which she gives her views on the controversies within the Golden Dawn and frankly describes her own falling out with Moina MacGregor Mathers.

In this book Gareth Knight takes the most famous and most haunting of all British legends and places it in its rightful position as the core of the Western Mystery Tradition, which draws its inspiration from Greek, Irish and even Atlantean myth. The central Arthurian themes and characters are brought to life with clear and thorough explanations, while the carefully woven pattern that has developed around the Arthuriad is carefully unravelled and its full esoteric significance revealed. This fascinating study, which builds on the work of Dion Fortune and Margaret Lumley Brown, takes the reader beyond the world of Malory and unfolds an inner landscape as real as the isles in which it was created.

A magical novella from Alan Richardson, Dion Fortune's biographer and well known occult author. On Winsley Hill is set in a very real location, a plateau near Bath. Within the chronicles of old light ever stirring on the hill is the story of Rosie Chant, a young farmworker who, aged 17 in 1908, falls in love with a visiting American folklorist and archaeologist called Edward Grahl, triggering a fierce soul love which entangles her through nine decades. Grahl recognises Rosie's unique otherworldly talents. She is a visionary and can pick up impressions from objects and places. As part of his research for a book he is writing, he uses her to tell him about the era of standing stones, long barrows, and sacred wells. She doesn't complain when he uses her in other ways, and through Grahl she gets to mix society life with the darker side of her gift, with devastating consequences.

The works of J. R. R. Tolkien, C. S. Lewis, Charles Williams and Owen Barfield have had a profound impact on the contemporary world. Together they were The Inklings, a small literary group of friends who set out to explore the 'mythopoeic' or myth-making element in imaginative fiction. The Magical World of the Inklings reveals how each of these writers created a 'magical world' which initiates the reader into hidden and powerful realms of the creative imagination. Originally published in 1990, this new edition has been substantially revised and expanded. It gives a thorough overview of the works of all four writers, including some of their lesser known work and posthumous publications, and explores the very practical way in which the creative imagination is invoked within the reader through the 'magical world' each writer constructed. In this respect, Gareth Knight's background as a leading expert on both magic and myth gives him a unique perspective which takes this book some way beyond the sphere of straightforward literary criticism.

In the trenches of Loos and the Somme, two disaffected young subalterns, Munro and Tate, struggle to find humour and purpose in a rapidly disintegrating world; brothers unto death - with a firmer bond than anything in their real families. A world away, in another time and place, Katherine is startled when she starts to recover memories - someone else's memories - of the first world war trenches. These involuntary glimpses into the life of a lost soldier open up a visionary world and a search across the fields of northern Europe for the historical truth behind it. A powerful story - fused with many realities.

Selected letters of occult author Gareth Knight, written over a period of forty years and to over seventy different people. These include learned discourse with academics, exchanges of strange experiences with esoteric colleagues, and advice to seekers trying to find their path. The letters reveal extraordinary, entertaining and personal details of the life and work of a contemporary occultist. "One fault of many occult students is to read too much ...all too often the new student is so interested in reading the latest thing that he never gets round to actually doing any of it." "I suppose you can at least feel what it is like to be 'a lone voice crying in the wilderness' ...I think even John the Baptist, in time, would have packed up his traps, said 'Sod it' (or 'Sod them') and gone home, maybe to start a locust and wild honey farm." "Your remark that the devil works by compromise and subtlety is altogether too glib a simplification. He works equally well through uncompromising 'principles' very often. The thing that bothers me though is your preoccupation with the insinuations of the devil, which seems at times to verge on 'old maid's insanity'.I get the impression - I hope wrongly - that I stand a good chance of being cast in the role of the serpent offering the poisoned, or forbidden fruit."

"The most important and challenging book on Arthurian and Grail tradition for many a long year." - Gareth Knight. The relationship between human and Faery lies at the very core of the Arthurian stories. In this radical re-evaluation of the Grail legends, Wendy Berg brings the ancient mythology of the British Isles into sharp focus centred around the marriage of King Arthur to the Faery Gwenevere and the origin and destiny of the Grail Hallows. Drawing upon numerous Arthurian sources and other related texts from the Book of Genesis to The Lord of the Rings, she explores the magical ritual underpinning of the legends and their connection to the ancient stellar deities of Britain. "When these stories are read with the additional level of understanding that they are for the most part a record of the lives and relationships of Faeries and humans working together about the Round Table, they immediately become not only a great deal more interesting, but also acquire a new and vivid relevance for the present day."

Visionary poet and archeologist Hugh Fox excavates the fragile human psyche and its need for spiritual belonging in his novel Depths and Dragons. The reader will be swept along on a cosmopolitan excursion that skirts variant cultural scapes and languages as it lurches toward some unknown existential destination. The story is told evocatively through a clever synthesis of the tragi-comic and the author's kaleidoscopic stream of consciousness style. Fox is a consummate master of inner monologues that teeter somewhere between the conscious and subconscious without ever fully yielding to either. The aptly named Miriam must undergo a journey of violent displacement between the worlds of Jew and gentile, rabbi and priest, orthodoxy and heresy. Along the way she is made to pay the ultimate price of familial sacrifice, degenerative diaspora, and the loss of her spiritual moorings. The novel battles states of inner and outer terrorism, from physical death to an exalted denial of the flesh, but all the while retaining precious wit and jocularity. The twists and turns of this self-pilgrimage lead to a surprising outcome, and one that will be well worth sharing.

Daniel Staniforth's book of poems Weaver in the Sluices is an intermixing of zones where the light of the waking body rises and transmixes its power with falling uranian whispers. These poems exist at the cusp where both realities overspill and condense, making fleeting forays into the unsayable. - Will Alexander // In Weaver in the Sluices, Daniel Staniforth pulls variously from Bardic tradition, contemporary lament, and surrealist landscapes to "filter the nutrients of thought." The poet invokes erotic passion and political protest alike, all while navigating the "midriff of the sun," "star-widths of fancy," and the "nape of the sea." In these poems, such wonders shift continually between foreground and background to portray a world where, ultimately, "the hollows subsume the shape." - Elizabeth Robinson

Immortal Jaguar is Hugh Fox's account of his experiences with the inner worlds and ancient powers unleashed by his use of traditional South American spiritual hallucinogenics. After consuming psychoactive plants in Peru he is gripped by visionary experiences and finds the dazzling magical world of the Immortals opening up, a whirl of ancient knowledge pouring through his consciousness. On his return to academic life in the US he finds that having a shamanic gift which he is unable to switch off is something of a dangerous liability. Part memoir, part archaeology, this fusion of visions and ideas into fictional narrative is among the most excitingly readable presentations of the spiritual underworld of the Andes and its expression through sacred hallucinogens. The vision extends outward across the ancient world through language and legend, all leading to a voyage to the house of the Sun-King - Tiawanaku in Bolivia. Fox, a major authority on the Pre-Columbian Americas, and a true visionary to boot, makes a compelling case for the connection of disparate myths and cultures around the world in deepest antiquity.

"I think of these as my 'impossible poems,' poems made from the battered language they are leaving us with, the torn and devastated language, the words twisted to mean the opposite of what they have always meant...turning language back on itself, as if going home..." Margaret Randall's Something's Wrong with the Cornfields offers an array of sacred spaces, evocative landscapes, historical acts, and personal infusions. The poems augur around the ability to alternate between the universal and the obscure, between personal orbit and cultural aura. Some poems constrict like bloodward spirals, and others unravel from their topical moorings. As with earlier volumes like Stones Witness, hers is a language in flux, where the willingness to yield alephs and symbols over time gives the poet a new scope to write beyond fixity.

Something odd is happening to John Faversham, a scientifically minded Englishman of the late 20th century. By chance, he acquires a volume of poems by a minor 19th century poet, who turns out to have lived in his house. Moreover, one of the poems records a vivid dream which has recently been troubling John. How does he come to share a disturbing dream with a long-dead previous owner of his house? As Anthony Duncan's novel unfolds, we discover the roots of the story in the events of the English Reformation in the 16th century. This sometimes startling tale powerfully displays dynamics of sin and redemption, working across time. But the author avoids any easy moralism. The novel is all the more powerful in its compelling depiction of life's knotted fabric, in which good and evil cannot be easily untangled.

William G. Gray was a real magician, a kind of primeval spirit who worked his magic as an extension of the Life Force, not as a sop to ego. He reeked of psychism like he often reeked of incense, could give you the uncomfortable feeling that he could see right through you and beyond, and had been to places in spirit that we could scarcely imagine. Many of the books on magic and the Qabalah which appear today owe a huge if unrecognised debt to his pioneering writing. If there is anything evolutionary about the current urge to work with harmonic energies within the Earth and ourselves - whether through green eco-movements, the Celtic Revival or the Wiccan arts - then it is due in no small degree to the work that was done by an old bastard who lived near the bus station in a town in Gloucestershire. Bill Gray met and worked with many of the most important figures in the British esoteric scene. His boyhood meetings with Dion Fortune and Aleister Crowley are described here in his own words, along with his personal recollections of working magic with Pat Crowther, Doreen Valiente, Ronald Heaver, Robert Cochrane and many others.This lively, entertaining and authoritative biography tells the story of how a difficult, psychic child grew into a powerful adept who challenged established and stagnating traditions within paganism, magic and Qabalah alike, and revitalised them from within - often falling out with those he worked with but maintaining their affection and respect. Generously illustrated with photographs, many never published before, the book also includes contributions by R.J. Stewart, Gareth Knight, Evan John Jones, Marcia Pickands and Jacobus Swart, plus, of course, W.G. Gray himself.

Diary as Sin is the powerful and evocative story of a blind girl, Rosanna Galvez. Confined to a private Catholic home in New Mexico, she unveils her beginnings as an incest baby - and moves through the odyssey beyond - with powerful incantatory language. Through poetic and often painful recall, Rosanna weaves a diary that will spellbind the reader with its imagistic and visionary prowess. Alexander cites Beckett, Bernhard and Goytisolo as an "ancestral trilology" for the work, living up to his forebears with some aplomb.

1965-1967 ...As the New Age seemed to explode into being, everything spiritual had to be Eastern. Psychedelic artwork showed Glastonbury Tor overshadowed by the Maharishi Mahesh Yogi, or Stonehenge sending its energies up to Lord Krishna - imagery which William G. Gray summed up quite simply as "Balls." He was working hard to make sure that our weakened (or slumbering) Western Traditions would survive. Among his endeavours at the time was this guide to the inner and outer practicalities of ritual magic, which includes instruction on god-forms, words of power, magic circles, initiation, extension of consciousness and raising power through ritual. Previously unpublished, Working with Inner Light is the first new book by William G. Gray since the author's death in 1992. Written in the form of a journal or magical diary, it includes his original sketches, and forms a detailed course in modern Qabalistic magic which will be of immense value to esoteric students and practitioners working within the Western Mysteries today.

The long-awaited magical autobiography of Gareth Knight covers a long career in pursuit of the Mysteries, from the adventures of New Dimensions magazine to the calling of King Arthur, from the rituals of Sherwood Forest to the Somme, from the wrath of fellow ritual magicians to the shining allure of Faery.

In early Irish society there existed an honoured group of people called the "Filid." They preserved the native stories and they were learned in the magical arts. It is within this ancient tradition that Ella Young (1867-1956) lived her unique and creative life. In the late 1800s Ella began to gather the old tales that had been handed down from family to family for centuries. She lived among the rural folk in the West of Ireland and in the hills south of Dublin. As part of her devotion to Irish culture she learned Gaelic and, as a major contributor to the Celtic Revival, she taught classes in the language and the myths. Ella's spirituality reached deep into the land and into the heart of ancient Ireland. Others have called her a seeress, a druidess, or a witch - the magical name she gave herself was "Airmid" - the goddess of healing who drew her powers from the fertile green earth. She knew first-hand about the faery folk of Ireland - she heard their music and listened to their stories. Ella was truly blessed - for her life flowed in harmony with her beliefs, her nationalism, and her career as an author and lecturer.This new collection of her writings, edited and introduced by John Matthews and Denise Sallee, is a deeply magical and evocative tribute to Ella's many gifts, featuring some of the best of her poetry and mythical storytelling.

In the early 1970s the redoubtable old occultist William G. Gray bicycled from his Gloucestershire home to the Rollright stone circle in Oxfordshire on a clear and full-mooned summer night. The visionary experiences he encountered on that night and in other similar visits resulted in the writing of this book, originally published by Helios Books in 1975 and now a classic among pagan and craft traditions. The text of the ritual is given in full, along with a discussion of its pattern and purpose. The Rollright Ritual is a powerful initiatory rite for attuning oneself to a personal and communal path of spiritual growth, presented here with an explanatory text and a discussion of the spiritual lives and practices of the stone circle builders of Great Britain. "Somehow, we ought to get away from ideas that a Standing Stone is only an outworn sign of our past, and see it as an upraised Finger of Fate beckoning us ahead toward our future. The Stone is not merely a memorial of bygone beliefs, but a pointer that should raise our highest hopes of finding faith in all the Life that lies ahead of us."

Diddle is a series of absurd, impossible, but faintly connected stories about immigrants living in the USA that will serve to deconstruct the "American Dream" mythos. Somehow each story typifies the experience of life for outsiders in the US, coupled with the impossibility of absolute acculturation. The book comprises a dozen short stories, each generated out of a line from the old nursery rhyme, laced with double entendres, multiple meanings and overlaps. These tales, written by a poet with a rich touch of language, question the very notion of identity and belonging, instead presenting the amalgamated state that most people are forced to live in.

...And Egypt Is the River is a collection of mystical prose-poems which the author describes as an attempt, based on the linguistic theories of R.W. Emerson, Ernest Fenollosa, and Hugh Kenner, among others, to trace the evolution of cosmology and myth as derived from a people's immediate sensory experience. In one sense it is an exploration of the genesis of language, the primal utterances that transcend from the physical world of sound denoting object to how images come to bring about self-awareness and fuse shared mythologies; or as the poet would say - "impact that compels words, that collect in fossil tidepools of the skull." Explore the world of Hibou, the experiential, Klang, the experienced, and the 3rd, who oscillates somewhere in between. "Riffs of heightened prose pleasure the senses, with auditory, tactile, and hallucinatory provocations. To endure such a rigorous and sustained assault on the essential poetic metaphors is a fierce initiation. This Egypt of the Mental Traveller is a dream of the true path, subtle and dangerous and undeceived." - Iain Sinclair

The Arayana are an indigenous people descended from an ancient empire living contentedly in the remote mountain forests. With scant knowledge of the outside modernising world they cling to their ancestral traditions and seek to pass on the wisdom of their elders undisturbed. Before the Dawn is their story, a story of drama, intrigue, foreboding, and the painful invasion of a group consciousness, beautifully rendered by landscape painter Rupert Copping. Although told entirely from their point of view this is no patronising post-colonial 'innocence to experience' yarn nor is their world an idyllic Eden in some virginal state before the Fall. Copping explores the complexities of tribal life through four main characters; a chief, his wife, his mistress, and a disgraced elder. Much of what they seek to protect seems no less dark and cruel than the ways of the outside world - but it is their sphere. The forces that swirl around and seep into their isolated enclave are complicated and circuitous, pitting native, invader, revolutionary and reactionary against each other.Copping takes the reader from the dark cave of ancient ritual to the mindless carnage of the 'Radiant War' - mirroring the psychological journey that the Arayana must take. With stark guerrilla brushstrokes and fresh environmental impetus he tells the age-old story of conquest and loss.

Learning to Draw / A History is an evolving and transformative narrative sketch, alternately prose and poetry, that serves to document a personal and yet collective history with a roving artist's eye. Previously serialised in a number of small journals and zines, the work has met with some acclaim and this is the first complete version in a new architectural alignment. Although from post-war Britain, Basil King's literary lineage harkens back to the projective verse style of Pound and Williams, sweetened through his working associations with the likes of Blackburn, Ginsberg and Baraka. The weaving of subjects in this work is not unlike the purposeful mixing of colours on an artist's palette.

Alan Richardson is back with a ground-breaking esoteric satire, The Fat Git, with a rip-roaring cast of characters including Abrose Hart, the Merlin of Strathnaddair; his reluctant nephew, Arthur; the mythical seductress, Vivienne, and the dastardly evil Vortig. Richardson takes no prisoners with his take on psychic pretentiousness, taking mythical simulacra and Arthurian archetypes to levels of absurdity, yet always displaying trenchant psychological insights and a sound background in the deeper aspects of occultism. This mix of mundane and fantastic, at wild odds with each other, is reminiscent of the work of Charles Williams, and perhaps one or two of his fellow Inklings. Richardson does not hold back from lambasting certain quarters with his iconoclastic wit but seems to be saying something that needs to be said. With great humour and panache, he provides a riveting burlesque of modern magic and the Arthurian Mysteries.