Get Free Ebook Aleister Crowley and Dion Fortune: The Logos of the Aeon and the Shakti of the Age, by Alan Richardson
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Aleister Crowley and Dion Fortune: The Logos of the Aeon and the Shakti of the Age, by Alan Richardson
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Aleister Crowley and Dion Fortune were two of the most controversial and powerful occultists of the 20th century. Crowley was regarded by many as a creature of the night, albeit one whose soul was streaked with brilliance; Fortune was viewed as one of the Shining Ones, who nevertheless wrestled with her own darkness. Between them they produced some of the best books on magick ever written, and their influence upon contemporary magicians has been profound.
Written by occult scholar Alan Richardson, this unusual and provocative book draws upon unpublished material to reveal little-known aspects of Crowley and Fortune’s relationship, and their role as harbingers of sweeping cultural changes―foreshadowing the women’s movement, the sexual revolution, and 1960s counterculture―as well as other surprising influences upon our present culture.
- Sales Rank: #778615 in Books
- Published on: 2009-12-08
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x .50" w x 6.00" l, .62 pounds
- Binding: Paperback
- 216 pages
About the Author
Alan Richardson was born in Northumberland, England, in 1951, and has been writing on the topic of magic for many years. He does not belong to any occult group or society, does not take pupils, and does not give lectures on any kind of initiation. He insists on holding down a full-time job in the real world like any other mortal. That, after all, is part and parcel of the real magical path. He is married with four children and lives very happily in a small village in the southwest of England.
Most helpful customer reviews
15 of 15 people found the following review helpful.
A cleverly designed reverse-ography
By W. Paul Blakey
This book starts at the end and finishes at the beginning, and from the beginning of the end to the end of the beginning it spins a tale of two magicians that may or may not be true.
I liked it. I devoured it in a couple of sittings - Richardson has a very readable style that keeps the story moving forward (even when it's going backwards).
On the one hand you have Aleister Crowley and on the other, Dion Fortune. The sex maniac versus the prude (though one of the author's points is that Fortune was anything but a prude - she certainly worked sex magic, but most likely on the sphere of Yesod - whereas Crowley was Malkuth all the way.)
But I think he is onto something, putting them together in the same book (an act of magic if ever there was one) even if they never 'knew' each other (in the Biblical sense).
The author's bias favours Fortune as a teacher, but like Crowley he seems to enjoy salting the text with outrageous statements, like little land mines, placed just so to catch the unwary reader in a moment of complacency.
If you are interested in Dion Fortune and/or Aleister Crowley this is a book worth reading. You won't find much on either of them that hasn't already been revealed by previous biographies, but by putting them between the same pages Richardson makes an intriguing case - a what if ... that tantalizes.
The Singing Stones (Volume 1)
5 of 5 people found the following review helpful.
The Logos of the Aeon and the Shakti of the Age
By Rebecca L. Elson
This review originally appeared on The Magical Buffet website on 1/7/2010.
"They died within two years of each other; she within the smog-enshrouded Middlesex Hospital, amid the massive bomb damage done to London by six years of war; he in the salt-sea air of Hastings, in a large and stately boarding house with the evocative and curiously apt name of Netherwood.
When the woman died, on 8 January 1946, taken by acute myeloid leukaemia, it had been quite unexpected. She was still young (a mere fifty-five) and had lived a decent life; eating healthy food, taking appropriate exercise in various dimensions, engaging in stimulating mental activity involving august spiritual beings, and she had once written a book about the nature of Purity.
When the man died of a lung infection, on 1 December 1947, unloved in any usual way, no one was at all surprised. In fact they marveled that he had lasted so long. He was seventy-two, had lived a life full of adventure, indecency, and excess; had wrestled with demons of the darkest kind; had been branded by the national press as the Wickedest Man in the World; and finally his drug-wracked body had just given up."
And so begins Alan Richardson's "Aleister Crowley and Dion Fortune: The Logos of the Aeon and the Shakti of the Age".
This book is described as a comparative biography of Crowley and Fortune (perhaps two of the best known occultists of the 20th century), and that's a fair description. However, I feel it doesn't do the book justice. The poetry of the writing, the nearly epic scope of the stories, the love, passion, and romanticism on the part of the author defy an easy summary, so forgive me for not trying. Richardson masterfully tells the stories of these two larger than life characters, all the while showing how their magical lives danced around each other; sometimes intersecting, other times diverging, but always close.
The book tells the stories of Crowley and Fortune's lives in reverse, starting at death and going forward to their births (homage to training the Magickal Memory, remembering events in reverse sequence). Therefore, the book begins with Fortune and Crowley's respective deaths in the Prologue, and then continues with seven chapters: Deaths and Afterward, The Wars of Their Worlds, Priests and Priestesses, Temples and Their Truths, Initiations and Other Awakenings, Falling to Earth and Other Trauma, and Past Lives and Similar Futures.
Although the author stresses that his book "is not meant as an exhaustive biography" on either of the subjects, I found (with my amateur level knowledge about Fortune and Crowley) that this book definitely hit all the marks, and certainly unearthed some extra information I had never heard before. At the very beginning of the book Richardson apologizes if the work seems to have a Dion Fortune bias, since he is an admirer, but stresses that he tried to treat both subjects with an even hand. I feel he succeeded. It is difficult to discuss Aleister Crowley. Generally, much like the man, people who write about him touch on the extremes of his character. I think fan and hater of Crowley alike will find the author's treatment enlightening. Also, despite his concern that his affection for Fortune will color his writings about her, here too Richardson succeeds in offering the whole person, strengths and weaknesses alike.
This book tells the fascinating story of perhaps two of the best known, and best beloved by some, occult practioners of our time. Yes, their lives were fascinating, but only the talent of someone like Richardson can make them mythic.
9 of 11 people found the following review helpful.
Another Crowley Hatchet Piece
By Azael
The intention of this book seems largely to be the aggrandizement of Dion Fortune by denigrating Crowley. The author's prejudices are evident, and hardly a page about Crowley passes without some dismissal, mockery, or aspersion. It would be an endeavor beyond my time and inclination to refute all of the stupidities I have happened across, but I'll address a few.
1) Crowley was "drug addled." Richardson goes on and on about Crowley's use of heroin. Crowley was a habitual use of opiates - particularly during the Cefalu period and again at the end of his life. However, Richardson's assertion that Crowley found in heroin "the one Master to whom he would always defer, bow, and often cringe for the rest of his life," apart from being ungrammatical, is extremely debatable. In any case, it is undeniable that Crowley used heroin heavily during his waning years. But characterizing Crowley as "drug addled," as Richardson repeatedly does, is simply false. Two of Crowley's acknowledged masterworks were written in those final years - Magick without Tears and The Book of Thoth. He also kept up a voluminous correspondence with students and friends all over the world, and continued to visit with friends and entertain visitors like Kenneth Grant and Grady McMurtry.
2) Crowley committed his wife to an asylum. While a minor point, this stuck in my craw as a particularly low blow. Crowley is hardly the only person to ever be forced to commit a loved one to a mental health facility. Mind you that this commitment was on the heels of the death of Rose and Aleister's first child, no small complication to a pre-existing dependency problem. Richardson presents this little aside with the clear motivation to increase Crowley's villany in the eyes of readers. It is slimy and despicable and an affront to anyone whose family has been touched by mental illness. [Note - Since I wrote this, Fr. Hymenaeus Beta, Outer Head of Ordo Templi Orientis, has conducted research which calls into question Crowley's account of his divorce from Rose and even whether she was ever actually institutionalized.]
3) Victor Neuburg. The rubbish heap about Crowley's relationship with Neuburg is piled miles high. Crowley is certainly partly to blame for that, as is Jean Fuller's ghastly biography of "Vicky," The Magical Dilemma of Victor Neuburg. Richardson betrays that he is way out of his depth when he states that, "although the Great Beast did so much damage to his disciple in so many ways, Neuburg was not entirely the victim." His evidence of this is that Neuburg "performed an act of buggery" on Crowley. The simple fact is that Crowley and Neuburg were lovers, and theirs was a relationship with undeniable sado-masochistic elements. Nonetheless, Richardson's preoccupation with who was the victim of whom betrays only his only his own sexual hang-ups. What he calls an act of "buggery" is just lovemaking between two men. The fact that he looks for a "victim" in this context is extremely revealing.
I have picked these three issues as the one's that annoyed me the most, but the whole book is rotten with this junk. It's really a shame that Richardson could not have truly developed his purported thesis - that Fortune and Crowley were partners in producing the New Aeon. If he were to have treated Crowley as decently as he treats Fortune, it would doubtless have been a fascinating read. As it stands, I would recommend reading Kaczynski's biography of Crowley and Knight's biography of Fortune - and draw your own conclusions.
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