Posted: October 13th, 2020 | Author: baeldraca | Filed under: Deofel Quartet, Labyrinthos Mythologicus, O9A, Order of Nine Angles, Order of the Nine Angles, The Sinister Dialectic, The Sinisterly Numinous Tradition | Tags: Anarchy, Anti-fascist Propaganda, Anton Long, Ban The O9A, David Myatt, Deofel Quartet, Fake News, Labyrinthos Mythologicus, Left Hand Path, Nazi Satanism, Nazi Satanists, Neo-Nazi, Nihilism, O9A, Occult Mythos, Order of Nine Angles, Order of the Nine Angles, Satanism, Seven Fold Way, The Sinister Tradition | Comments Off on The Apolitical Deofel Quartet
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Those who have studied O9A esotericism in detail, and those who have an intuitive or artistic appreciation of the Sinister-Numinous aesthetic of the Order of Nine Angles (ONA, O9A), know that the O9A in essence is apolitical, regarding all political forms and all political ideologies as causal abstractions, some of which forms may be useful for a while as exeatic learning experiences – as Insight Rôles – for some individuals in the early years of their decades-long journey along the O9A Seven Fold Way. But all of which causal abstractions – from politics, to religions, to sociological and psychological theories and posited archetypes – are surpassed, left behind, understood as irrelevant – when the individual undertakes and successfully emerges from the ordeal of The Abyss.
Which ordeal reveals The Unity, the affective acausality, beyond the illusive, the mundane, dialectic of opposing opposites; an illusive dialectic exemplified by “choosing sides” such as, in terms of political abstractions, “Left Wing” and “Right Wing”.
Those conversant with O9A esotericism will know that the novels of the O9A Deofel Quartet (written between the 1970s and the early 1990s) present
{quote}
“much of the diverse aural traditions as AL [Anton Long] received them: as stories about people, their interactions; their ‘satanic’ or esoteric views and beliefs; and about certain events that involved those people. In The Deofel Quartet he simply reworked the factual material – as writers of fiction are wont to do – in order to make an interesting story, in the process obscuring the identities of those involved and sometimes their place of residence or work; added some entertaining details (as in the ‘astral battles’ between goodies and baddies in Falcifer, of a kind now familiar – decades later – from the Harry Potter stories) and concatenated certain events in order to provide ‘action’ in a limited time-frame.
Thus, the fictional stories not only compliment other O9A material but provide a ‘different way into’ the complex O9A mythos; a way that many will find more interesting (and certainly more entertaining) than thousands of pages of sometimes polemical and sometimes ponderous O9A factual texts, and a way that especially places the O9A’s satanism into perspective, Aeonically and otherwise.”
{/quote}
None of the novels of the Quartet concern politics. None of them deal with political revolution or concern themselves with “terrorism”. None of them concern “neo-nazism”. None of them involve “racism” or are “anti-gay” or misogynistic. In truth, the novels – ahead of their time – contain strong female characters (such as Fiona in The Greyling Owl, and Lianna in The Giving) as well as positive gay characters (such as Fenton in The Greyling Owl).
To understand the O9A is to understand how and why The Deofel Quartet presences O9A esotericism: as involving real individuals some of whom (as in Falcifer) may have an interest in Satanism and the Occult, and some of whom (as in The Greyling Owl) are not interested in, or appear not to be interested in, Satanism and the Occult. As readers of such works as Falcifer and The Giving and The Temple of Satan discover, esoterically the O9A is far beyond even the causal abstraction, the causal form, termed “Satanism”.
Thus, as described in The Temple Of Satan,
{quote}
“All of [the books], and the manuscripts bound like books, were about alchemy, magick or the Occult. He could read the Latin of the medieval manuscripts and books, but what they related did not interest him as the later books brought forth no desire to read further.
Even the Black Book of Satan, resting on the table, seemed irrelevant to him. They were all compilations of shadow words, appearing to Thurstan to fall short of the aim that the searchers who had written them should have aimed for. His instinctive feeling was to observe in a contemplative way some facet of the cosmos – to stand outside in the dark of the night and listen for the faint music that travelled down to Earth from the stars – rather the enclose himself in the warm womb of a house to read the writings of others. Demons, spells, hidden powers, the changing of base metal to gold, even the promises of power and change for himself, were not important to Thurstan, and he left the library with its stored knowledge and forbidden secrets and lurking gods, to walk in the moonlit garden.
The stars were not singing for him – or he could not hear them above the turmoil of his thought…
He moved, like an old man pained by his limbs, through the cold and sometimes swirling mist along a path that took him toward the Mynd and up, steeply, to its level summit where he stood, high above the mist, to watch the mist-clotted valleys below.
The heather was beginning to show the glory of its colour, and he walked through it northbound along the cracked and stony road stopping often to turn around and wait. But no one and nothing came to him – no voices, song or sigh […]
The very Earth itself seemed to be whispering to him the words of this truth. He began to sense, slowly, that there was for him real magick here where moorland fell to form deep hollows home to those daughters of Earth known as springs and streams, and where the Neolithic pathway had heard perhaps ten million stories. No wisps of clouds came to spoil the glory of the sun as it rose over the mottled wavy hills beyond the Stretton valley miles distant and below. No noise to break the almost sacred silence heard. For an instant it seemed as if some divinity, strange but pure, came into the world, and smiled.”
{/quote}
Thus, The Greyling Owl deals
{quote}
“with a type of ‘hidden sinister sorcery’ that owes little or nothing to what has become accepted as ‘the Western occult tradition’, satanic or otherwise, with its demons, its invocations and evocations, its rituals, and people dressing up in robes. Instead, it concerns someone being manipulated, brought into a position of influence, without even knowing or suspecting there is an occult aspect; someone – in modern parlance – being ‘groomed’ to at some future time use that influence for a sinister purpose as directed by the person or persons to whom he is now indebted.
That is, there is a revealing of how the O9A often operates, and has operated, in the real world; and how O9A people are often secretive, with their occult connections, and their interest in the sinister, unknown to colleagues and friends. The title itself gives a clue, for the word greyling is used in reference to Hipparchia Semele (commonly referred to as the Grayling), a type of butterfly found in Britain and one which is ‘a master of disguise and can mysteriously disappear as soon as it lands, perfectly camouflaged’. Hence the title seems to, esoterically, suggest the pairing of the ‘mistress of disguise’ (Fiona) with ‘the owl’ (Mickleman) and which working together will enable sinister deeds to be done, most possibly by Mickleman (under the guidance of Fiona) influencing or recruiting people from within his natural academic environment.”
{/quote}
Thus, the following paean to Sapphic love, from Breaking The Silence Down, the novel often considered as making the Deofel ‘quartet’ into a quintet of esoteric novels:
{quote}
“Blissful, they returned to their home. The rain ceased with their arrival and in the subdued light in the now cramped sitting room of their bungalow, Rachael sat at her piano to transform herself and the night. Diane listened and watched, entranced. Rachael’s playing created a new world and a new woman, and Diane watched this strange woman create from the instrument of wood, steel and tone a universe of beauty, ecstasy and light.
Bach, Beethoven – it made no difference what or for how long she played. But, as it always had since that night, Beethoven’s Opus 111 fascinated her with feelings, visions, and stupendous, world-creating thought. It imbued her with insight, and a love that wanted to envelope Rachael and consume her.
It was pleasure and pain to watch Rachael transform herself through the act of her playing into a goddess she would die for. No reason touched her while she listened. There was, she knew, no greater life than this, no greater feeling and she wanted to immolate herself with Rachael’s ecstasy, immolate world upon world with this glory and passion which no male god described.
Then the silence, while clamoured notes faded and dimmed light framed. There were no more tears Diane could cry and she waited while Rachael slowly rose and offered her hand. She – the goddess within – was smiling and Diane allowed herself to be led. The music in her head, the memories and secret dreams of youth: all were before her, embodied in flesh and she had only to kiss the slightly scented lips or see the secret wisdom hidden in the eyes to reach the summit of her life, slowly, in the dim corners of the bedroom’s reflected dark.”
{/quote}
Given that most O9A critics have never bothered to read the O9A “deofel quintet” – or, if they have, have miserably failed to appreciate its esoteric significance – it is not surprising that they have such a biased, mundane, view of the O9A.
TWS Nexion
December 2018 ev
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Posted: July 7th, 2019 | Author: baeldraca | Filed under: Inner ONA, O9A, Order of Nine Angles, Order of the Nine Angles, The Sinister Dialectic, The Sinister Tradition, The Sinisterly Numinous Tradition | Tags: Breaking The Silence Down, Deofel Quartet, Deofel Quintet, Inner O9A, Labyrinthos Mythologicus, Left Hand Path, O9A, Occult Fiction, Occultism, Order of Nine Angles, Satanism, Septenary System, Seven Fold Way, Sinister-Numinous Aesthetic, The Sinister Tradition, The Sinisterly-Numinous Tradition | Comments Off on O9A: Deofel Quintet Analysis
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The O9A Deofel Quintet
(pdf)
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Extract:
The O9A Deofel Quintet consists of the following novels:
§ Falcifer
§ The Temple Of Satan
§ The Greyling Owl
§ The Giving
§ Breaking The Silence Down
The Quintet – the Deofel Quartet plus the novel Breaking The Silence Down – amounts to almost 600 pages and is a neglected aspect of O9A occultism. For attention hitherto – especially in mainstream Media, by self-described modern ‘satanists’, by academics, and by self-described ‘anti-fascists’ – has focused on the alleged neo-nazi and satanist aspects of O9A occultism, with what the O9A means by satanism either ignored or misunderstood.
The Deofel Quintet {1} places the neo-nazism and the satanism aspects into the necessary esoteric perspective, for the novels of the Deofel Quintet are non-political with the overt satanism of such works as Falcifer and The Temple of Satan expressing the place of satanism in O9A tradition: which is that it is a short-lived and personal learning experience, germane to the early stages, the first few years, of the anados (ἄνοδος), the decades-long hermetic quest, for Lapis Philosophicus. An anados manifest in O9A hermeticism by the sinister-numinous Seven Fold Way.
In this perspective, both Falcifer and The Temple of Satan are concerned with initiate type learning experiences: gaining esoteric knowledge, participating in ceremonial overtly ‘satanic’ rituals, and experiencing the part of the satanic ethos that concerns personal pride and personal pleasure. But they also deal with how personal emotion – especially love – affects them, can complicate their lives, as well as offering them opportunities to learn and advance further in their anados.
Which advancement is the concern of The Greyling Owl, of The Giving, and of Breaking The Silence Down.
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{1} The novels of the Quintet are available from https://www.o9a.org/deofel-quartet/
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Posted: September 18th, 2018 | Author: baeldraca | Filed under: Inner ONA, Labyrinthos Mythologicus, O9A, Order of Nine Angles, Order of the Nine Angles, The Sinister Tradition, The Sinisterly Numinous Tradition | Tags: Anton Long, Deofel Quartet, Inner O9A, Insight Roles, Labyrinthos Mythologicus, Left Hand Path, Occult Fiction, Occultism, Order of Nine Angles, Satanism, Shrenching, Sinister Cloaking, Sinister Stories, The Dark Arts, The Greyling Owl, The Sinister Tradition, The Sinisterly-Numinous Tradition | Comments Off on The O9A Dark Art Of Shrenching
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The Dark Art Of Shrenching
(pdf)
Those curious about the Order of Nine Angles (ONA, O9A) who turn toward the four fictional stories that make up The Deofel Quartet expecting to find ‘horror’ stories or stories of bloody satanic sacrifice, or graphically described sexual or fetishistic satanic rituals, or de Sade like violence, sadism, and dominance, may well be disappointed […]
Nowhere is the dissonance between such expectations – of stories of horror, blood, sacrifice, sex, fetishism, satanic rituals, and sadism – and the Occult reality of The Deofel Quartet greater than in the story titled The Greyling Owl.
This fictional story – of some 130 pages – was published in 1986 ev and is set in and around the English city of York in the year 1976, with the story revealing “how the O9A often operates, and has operated, in the real world” for decades […]
What is described is The Dark Art Of Shrenching, otherwise known as Sinister Cloaking. A difficult Dark, Occult, Art to master involving as it can deceiving others about one’s intentions, and/or entrapping others for some sinister purpose.
In the O9A the most obvious use of The Dark Art Of Shrenching is in Insight Roles […]
Yet The Greyling Owl describes a somewhat hitherto neglected part of O9A tradition. Which is that Shrenching may also be a necessary part of those who, via the Seven Fold Way, have progressed beyond The Abyss and who thus have attained the Occult grade of Master of Temple, or Mistress of Earth […]
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Related:
The Deofel Quartet
Posted: July 3rd, 2018 | Author: baeldraca | Filed under: Deofel Quartet, Inner ONA, Labyrinthos Mythologicus, O9A, Order of Nine Angles, The Sinister Tradition, The Sinisterly Numinous Tradition | Tags: Anton Long, Deofel Quartet, O9A, Occult Fiction, Omega9Alpha, Order of Nine Angles, Order of the Nine Angles, Sinister Fiction, The Sinister Tradition | Comments Off on The O9A Deofel Quartet
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The Deofel Quartet present much of the diverse aural traditions of the Order of Nine Angles as Anton Long received them: as stories about people, their interactions; their ‘satanic’ or esoteric views and beliefs; and about certain events that involved those people. In The Deofel Quartet he simply reworked the factual material – as writers of fiction are wont to do – in order to make an interesting story, in the process obscuring the identities of those involved and sometimes their place of residence or work; added some entertaining details (as in the ‘astral battles’ of a kind now familiar – decades later – from the Harry Potter stories) and concatenated certain events in order to provide ‘action’ in a limited time-frame.
Thus, the fictional stories not only compliment other O9A material but provide a ‘different way into’ the complex O9A mythos; a way that many will find more interesting (and certainly more entertaining) than thousands of pages of sometimes polemical and sometimes ponderous O9A factual texts, and a way that especially places the O9A’s satanism into perspective, Aeonically and otherwise.
The Quartet was written by Anton Long with the stories originally read out from handwritten manuscripts at Temple/nexion meetings of the Order of Nine Angles (O9A) in the decades of the 1970s and 1980s. These meetings were never large – sometimes only a few people, occasionally a dozen or less – and were always held in intimate and candle-lit surroundings.
Following the expansion of the O9A in the late 1980s resulting from O9A articles being published in occult zines such as Nox, the original handwritten manuscripts (most with handwritten corrections or alterations) were, in the early 1990s typed out on manual typewriters by various people.
° Falcifer
° The Temple of Satan
° The Giving
° The Greyling Owl
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Further reading:
O9A Occult Fiction
(pdf)
Note: Contains Plot Spoilers
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Other fictional works by the O9A include:
° Eulalia – Dark Daughter of Baphomet. c.2009.
° Tales of the Dark Gods, c.2008, comprising the four short stories (i) In The Sky of Dreaming, (ii) Jenyah, (iii) Sabirah, and (iv) A Dark Trilogy.
° The two individual short stories Hangster’s Gate and Copula cum Daemone. c. 1976.
° The short story Gruyllan’s Tale, which forms part of the Balocraft of Baphomet series. c.2010.
° The short story Sunedrion: A Wyrdful Tale. 2015.
Posted: July 19th, 2017 | Author: baeldraca | Filed under: O9A, Order of Nine Angles, Order of the Nine Angles, The Sinister Game, The Sinister Tradition, The Sinisterly Numinous Tradition | Tags: Deofel Quartet, Left Hand Path, O9A, O9A Mythos, Occult Fiction, Occult Initiation, Occultism, Order of Nine Angles, Order of the Nine Angles, Paganism, Satanism | Comments Off on The O9A Aesthetic
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The O9A Aesthetic (pdf)
A collection of some extracts from articles which deal with the sinister-numinous aesthetic of the Order of Nine Angles. As the extracts reveal, significant manifestations of this aesthetic occur in the Occult fiction of the Order of Nine Angles, that still rather neglected aspect of ONA Occult culture.
For their Occult fiction not only reveals and explains the unique sinister-numinous aesthetic of the O9A, but also provides:
“a different way into the complex O9A mythos; a way that many will find more interesting (and certainly more entertaining) than thousands of pages of sometimes polemical and sometimes ponderous O9A factual texts, and a way that especially places the O9A’s satanism into perspective, Aeonically and otherwise.”
Other manifestations of the aesthetic are O9A specific archetypes, The Art Of The Insight Role, and Sinister Chant.
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Contents:
° A Note Regarding The Sinister-Numinous Aesthetic Of The Order Of Nine Angles
° The Occult Fiction Of The Order of Nine Angles
° O9A Aural Tradition And The Deofel Quartet
° Appendix: Missing The Sinister Angles, Again