This work takes an unusual and unprecedented departure from the author's previous publications in order to follow a more personal and introspective thread of the mysteries. It is a treatise very much a work in progress, albeit one that seeks to answer the oft' quoted assertions regarding what the 'People' are and who is or is not Goda. Better yet, it traces latent clues, keys primed within the cumulative works of the former Magisters of the Clan of Tubal Cain, Robert Cochrane and Evan John Jones, to their origin and by default, their paradoxical conclusion. It constructs a template, a blueprint of their working ethos that feeds a further dynamic into praxis germane to their Cosmology.Most importantly, it asserts an identity through the focus of the work, given a contextual basis from which to grow and develop with impunity, confidant of its participation in and contribution to the vitality of a stream of living gnosis. Historical and more recent glosses are removed, peeled back, layer by layer to the very heart of a rich heritage, culturally, spiritually and magically. Many layers have filtered this core, and many feed it still.These pages cut right to the heart of the matter, dispelling misnomers and the countless misapprehensions regarding certain aspects of the Clans methodology, of its fundamental belief, of its structure, even of its traditions. None of this is, nor ever could be deemed secret, but it is sacred, at least to those who cherish this precious pearl of wisdom; for it represents a way of seeing and a way of being by which everyone may 'know thyself' and 'be truly blessed.'Most startling for many reading this book, will be the near heretical conclusions it draws from the hefty body of research engaged along this pilgrimage of self discover paralleling the intense discovery 'of whom' the 'People' are aligned to as a 'personalised' aspect of the divine. Some may find this material contentious, but it is hoped even more will defer that to 'challenging'. For without challenge everyone remains unprovoked, thus failing to develop their full and true potential both as individuals and as a collective species seeking elevation through enlightenment.This demands the removal of trivial abstractions to allow the truth to shine though the dust of ages. Too long have agendas obfuscated the simple beauty and elegance of a Northern system, the source of which will generate much further study into areas hitherto unnoticed or ignored. It is hoped this innovative material will re-kindle those fires of enquiry, the pursuit of a life given purpose and meaning, wherein all roots are tended and acknowledged, wherein the fruit is shared, nourishing all who partake of its blessings and wherein seeds continue to flourish into the next generation and beyond.
Those that speak of secret and secrecy, and not of discretion or wisdom, are those who have not discovered Truth." Subject to continual speculation and study, the enigmatic words of this erstwhile poet have touched the Craft, influencing all called to it, irrespective of their path or journeying. Such was his genius, such was his unique gift, ever the barb of fate, he was beyond his era. His legacy has enriched the tone of all seekers and all pilgrims who would cast aside the veil of illusion in favour of the 'Real.' For the first time, his own Clan are able to offer clarification on the mystery of his Faith through his evolving Craft, begun officially at the onset of the decade that witnessed his tragic death. Finally, through the gift of several early letters, now brought together with those already published, their message is consciously revealed. Under a carefully constructed chronology, this is 'his' story, unfurled through his words and works. As the 'Order of the Sun, ' his People of Goda, of the Clan of Tubal Cain, we continue to hold aloft his brave taper, that for the 'Hound' and 'Pale Guiden, ' in the Great Hall of Caer Ochran, is 'worth a light!
Always, the Devil is presented as a beacon of decadence and indulgence, whether fair or foul. And, whether droll or tragic, he does - in spite of his bad press - appear always to have our best interests at heart. Perhaps this is why many of us have a soft spot for this notorious rebel who reflects, as he does, the all too human element within. As supreme chimera, he is without peer; his amorphous ambiguity allows him to cross continents, cultures, and time effortlessly; he afflicts art and society in ever more creative and challenging ways. To know his work, we must seek what lies beneath the final mask. The Grande Sabbat Feast, The Night Visitations and the Faerie Rade - The Devil's Supper is the sacred and profane history of a buffoon, racketeer, demon, daemon, trickster, Faerie King, Great Opposer, and the Lie. From pre-history to post-modern times, the bogeyman behind folk tales and legends tells his long tale in this uniquely historical perspective - one that explores why Providence is the sacred duty of The Lord of this World. From Carnival to Utopia, and from Feast to Famine, the secret traditions of the Devil and all his Works are explored in considerable depth and explained by the people who feared and courted him, rather than ecclesiastical authorities. His tools of arte range from his holy trident to profane hallucinogenics, and from sacred cup to holy feast. From Scapegoat to master of illusion, the Devil is ever present as the Great Opposer. He is the primeval master of disguise, and master of ceremonies; he is the grand host of the Sabbat. Through incarnations and paradigm shifts, his coat is of many colours. From Heresy to Houzle, the enigma of the Devil is seductively astute. This narrative is an invitation to sup at his table as we profile him through theology and myth. As The Devil's Supper tackles concepts of evil, sin, and retribution, what he has to say may just enlighten you! With various Illustrations by: Baltens, Bosch, Bruegel, Dürer, Blake, Doré, Füssli, Holman Hunt, Giotto, Michelangelo, Van Eyck, Van Maële, Fuseli & Vasnetsov, Léopold Boilly, Hans Trapp, Wagrez, Taddeo di Bartolo, and Klinger."--
This book explores historical and contemporary ideas of witchcraft through the perspective of the Clan of Tubal Cain - a closed Initiatory group aligned to the Shadow Mysteries within the Luciferian stream. As students of arte we mediate the ancestral stream, teaching through practice with the sacred tenets of Truth, Love and Beauty. The Word is thus manifest in deed and vision. A driving thirst for knowledge is the forerunner of wisdom. Knowledge is a state that all organic life posesses, wisdom is the reward of the spirit, gained in the search for knowledge. Truth is variable - what is true now, will not be true tomorrow, since the temporal truths are dependent upon ethics and social mores - therefore wisdom is possibly eternal Truth, untouched by man's condition. So we must come to the heart of the People, a belief that is based upon Eternity, and not upon social needs or pressures - the 'witch' belief then is concerned with wisdom, our true name, then is the wise people and wisdom is our aim. - Robert Cochrane 1931-1966
Part One: Dual-authorship of the Clan of Tubal Cain's Legacy defining 50 years of its organic evolution. Originating from within an unpublished ms written by Evan John Jones, the former Magister of the Clan since Robert Cochrane's death in 1966, it serves Testament to the Will of Fate and Tenacity of Spirit here expressed, from its inception under Robert Cochrane through Evan John Jones' own record of the Clans beliefs and practises to those of the Current bearers of this mantle, depicting the interweaving of Wyrd in the vital process of its existence and continuity in Troth to its Tutelary Spirit: The Star-Crossed Serpent
Traditional Craft thrives as an underground stream. Its rejection of dogma generates a mystical path of hermitage and evolution. Its source honours the 'pagan' spirit, presenting to every seeker a devotional path that is the magic of the soul. It speaks of spiritual alchemy, masterfully borne in the crafting of matter. Crafting the Arte of Tradition explores that which was based in the medieval guilds - the rural traditions claimed by craft heritage. More often than not, the Craft remains composed of select conclaves of Horsemen, Toad-men, and other self-styled variants - all heavily focused on family beliefs and faiths founded upon folklore and folk magic. We explore how Real Craft is centred upon the 'Family,' and is the natural repository of hereditary lore passed only between generations: herbal knowledge, place names and origins uses, and local wights amongst many others. These are elements of remnant lore harking back to when each family or 'house' represented a particular skill or guild. So diverse are the many artes, and yet so familiar are their foundations; their medium of expression sought common ground. However, the way in which those 'guild' secrets were disclosed called for certain initiatory rites of passage that stemmed from a shared hereditary root which was based in culture and developing tangible craft traditions pertinent to each. Later, when those guilds disintegrated, the rule simply reverted to kin and was preserved within those same hereditary guild families, (now engaged in finding apprentices for slightly different training). Apprenticeships required sponsorship, and only a family member could undertake that role. Toad men, Horsemen, Cunning Folk et al are described within Crafting the Arte of Tradition - not as an intellectual study, but as a lived tradition!"--Back cover.
The Runaways are back... For Layla Lewis, life is finally back on track. After her "runaway year" in Cornwall, another year has passed—an idyllic year spent with sexy new love, Joseph Scott, in the sultry heat of Florence. For best friend Penny, life has also changed. Having recently given birth to a baby girl, she’s busy embracing motherhood. But, for The Runaways, life is never that easy... A chance encounter with Joseph’s ex-girlfriend, Tara, has explosive consequences for the new lovers, and all three are forced back to Cornish shores. There's a secret between Joseph and Tara, and Layla can't help but fear that they're rekindling their past. Meanwhile, motherhood is not the joy Penny thought it would be—she’s heading for a breakdown, and fast!
In Confidence Culture, Shani Orgad and Rosalind Gill argue that imperatives directed at women to “love your body” and “believe in yourself” imply that psychological blocks rather than entrenched social injustices hold women back. Interrogating the prominence of confidence in contemporary discourse about body image, workplace, relationships, motherhood, and international development, Orgad and Gill draw on Foucault’s notion of technologies of self to demonstrate how “confidence culture” demands of women near-constant introspection and vigilance in the service of self-improvement. They argue that while confidence messaging may feel good, it does not address structural and systemic oppression. Rather, confidence culture suggests that women—along with people of color, the disabled, and other marginalized groups—are responsible for their own conditions. Rejecting confidence culture’s remaking of feminism along individualistic and neoliberal lines, Orgad and Gill explore alternative articulations of feminism that go beyond the confidence imperative.
Dumped by her hotshot boyfriend and boss, Layla Lewis quits her job and heads to Trecastle in North Cornwall to house-sit for a friend-of-a-friend. Trecastle isn't new to her; it's a place where she holidayed regularly with her now-estranged mother. It's also the home of Hannah McKenzie, her childhood friend. Hannah has tempted her with a place to live and a job in the local pub. Needing time to nurse her battered heart and escape her "real life" for a year, Layla accepts. Hannah is a talented artist as well as a barmaid. She lives in the village center with her boyfriend Jim, a singer in a local band. They are happy together, or as happy as they can be, considering. Hannah loves Jim, but there is someone she loves more and it's pushing them to breaking point. Meanwhile, back in Brighton, Layla's fiery yet loyal friend Penny seeks revenge on her behalf, sending a forged email that could damage her ex's business prospects. Penny wonders if she has gone too far but is soon preoccupied with her own problems: the sizzle has fizzled in her marriage, and she feels neglected. After getting frisky with Dylan one night, she confesses all to her husband-and he's been like ice ever since. Over the course of a year, there is laughter and heartache as all three endeavor to reign in their tumultuous love lives-discovering you can run all you like, but if it's love you're up against, true love, good things can only happen when you stand your ground.
The diverse violence of modern Britain is hardly new. The Britain of 1850 to 1950 was similarly afflicted. The book is divided into four parts. 'Getting Hurt' which looks at everyday violence in the home (including a chapter on infanticide). 'Uses and Rejections' two chapters on the use of violence within groups of men and women outside the home (for example, violence within youth gangs, and male violence centred around pubs). 'Going Public' three chapters on how violence was regulated by law and the professional agencies which were set up to deal with it. 'Perceptions and Representations' this final section looks at how violence was written about, using both fiction and non-fiction sources. Throughout the book the recurring themes of gender, class, continuity and change, public/private, and experience, discourses and representations are highlighted.
The underlying premise of this study is the close relationship between Pesher Nahum (4Q169) and its biblical base-text. Historical and literary considerations, as well as theological, sociological, halakhic, textual, and linguistic data, are examined in terms of their exegetical functions. This edition includes a transcription and translation of 4QpNah, with textual notes. The treatment of 4QpNah follows the natural division of the extant text into five thematic literary sections, or “pericopes,” each consisting of a series of “lemma/pesher units”. For each pericope, proposed historical contextualizations are evaluated on the basis of exegetical criteria. “Equivalents” are “mapped” for each unit, such that individual elements of each lemma are aligned with corresponding elements from the biblical base-text. A focus upon “lemma/pesher correspondence” provides the framework for systematic exegetical analysis of 4QpNah.
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