Sword of Song is a groundbreaking venture that still defies most categorizations. The temptation to parallel such an experiment with AC’s life is in some ways far too great to pass up on. (…) The book is a hybrid example of writing that entails much more than mere textuality may suggest. Hopefully Richard Kaczynski’s comprehensive edition will inspire revived and expansive interpretations of its contents for some time to come.

In his recent rendition of the Three Books, Eric Purdue has consulted Vittoria Perrone Compagni’s critical edition, which is based primarily on the 1533 version, all the while carefully comparing and contrasting it to the 1510 first edition, and the 1531 2nd edition as well as the first manuscript version Agrippa sent to Trithemius.

From within its pages beats the vibrant presence of the encounters from which this book was born. This typhonic pulse is as unmistakable in Harper Feist’s book as it is in the works of Austin Osman Spare, Andrew Chumbley, Orryelle Defenestrate-Bascule, or Gast Bouschet. IO Typhon is a donkey’s skull your thoughts feed with blood while reading.

The underscoring theme of Blackthorn Whitethorn is that precise in-betweenness, the position of not-this not-that (Sanskrit Neti-Neti), a concept and means of apprehending that is as elusive as the roebuck being pursued — or that pursues us — and as thorny as the entangled thicket. This concept — arguably a fundamental ethos of witchery — demands that we adopt an alternate way of approaching, through poetic inference; for it is ineffable in the truest sense, and thence a Nameless Art.

This book requires multiple readings to understand how deftly the various sections gel together, despite their differences, or because of them. “What you did as a child that made the hours pass like minutes? Therein lies the key to your earthly pursuits” (C.G. Jung). This is one such puzzle of a book with which you could have hours of pleasure.

Hagia Sophia Sanctum of Kronos: Spiritual Dissent in an Age of Tyranny is Peter Mark Adams’ third book in a series of writings on classical initiation and its survival into the Renaissance. According to Adams, the Hagia Sophia itself is the incarnation of the most important ideas of Hellenistic theurgy, or spiritual practice wherein identification with, and even possession by one’s chosen devotional deity was the ideal.

In essence, ANARCH documents an ongoing process of profound personal transformation mediated by a four year long retreat in a forested landscape. Captured in fine writing and immersive photography, I cannot sufficiently commend the profundity of conception and execution that characterises this work.

Effigy is at first a rather daunting proposition and one is left wondering how the subject can be expanded into such a thick tome. However, the thoroughness of Duffy’s research and study, his diligent fact-finding and investigation into the historic and contemporary practical use of the idol is superb, revealing how mammoth a subject it actually is – masterfully handled and treated with care and consideration.

I recommend the devouring of this book, and a warning of side effects may also seem in order. What we hold in our hands here is immensely valuable from multiple perspectives. From the modern goês’ vantage point, Prema Goet offers us a veritable anti-grimoire. A book that contains no grammar, but pure visual poetry.

Don Webb’s ‘How to Become a Modern Magus’ poses three interesting questions with its title. What is a Magus, what is magic, and is there a difference between a Magus and a Modern Magus? (…) A book that teaches all that deserves to be read, to be used and to be applauded!

Frater Acher writes with very deliberate care for the reader. In a sense, this is a book about character, in terms of the symbols we use (and which also use us) to contour our perception and experience. It is also a study in contrasts, in order to explore what the author calls “the rainbow path” – which requires seeing through and behind caricatures. Whether those caricatures are those of the fanatical Christian extremist, the dissolute pagan, or the saintly hesychast, all are examined here with remarkable even-handedness.

Living Magic is a most unusual book, and yet it should not be. As its subtitle says, it is a book entirely entrenched in and geared towards magical practice. Specifically, it breathes the kind of magic that does not walk cloaked in centuries of tradition, in garments of cryptic symbols and dead languages, peacock-like strutting out in leather-binding and emblazoned in claims of ancient lineages. Instead Living Magic is epitomising the kind of magic that nakedly stares you in the face and bluntly punches you in the stomach.

Hanegraaff's voice is not the only voice present in his text. As an attempt to produce a new narrative, I am not qualified to judge its effectiveness, but perhaps as a spell, I would hazard that it is more successful than not, for it leads to contemplation, and from there, perhaps the logos may lead the reader to that seeming boundary-cum-precipice where the curved-beak smile and tip of the hat may be taken as an opportunity to do the work.

This is, obviously, a new historical study, as such at points evidential conclusions arise which contradict or update comparatively recent scholarship. Martha Rampton, is a good example of a post-modern historian, explaining her evidence via the then dominant (and divergent) narratives, upon which she passes no anterior judgement. Her book is both definitive and interesting.

Haraway invites us, as readers, to spectate-and-speculate with the experiences she records and links together. It is not passive, but a participatory role which invites us to speculate-with-Haraway about our own experience. We are presented with the author’s oddkinnery and perhaps may begin to conceive of ourselves tentacularly; touched, grasped, tasted-with, made and making-with things beyond the boundaries of what we consider human or person in our lives.

Stranger in the Mask of a Deer is, perhaps, the single most impactful sequence of thematically-linked poetry to have been written in the spirit and celebration of a pure and unadulterated paganism that I have encountered; one that combines its sinuous diction with an essential and ageless metaphysics.

The Tree of Gnosis does not only present a masterful investigation into the complex history of Gnosticism – the book introduces us to a broader, much more challenging vista from where we can see ourselves, that what is truly at stake here is no longer Gnosticism, but “the meaning of history itself.”

This volume deals with “land spirits”, those entities and spirits of place which the Christian church referred to as “demons”. […] Approaching this book with an open mind is wise, because you may be surprised where it takes you, regardless of practice. Furthermore, it serves as a great introduction to Lecouteux’s work and jumping-off point to the other books Inner Traditions have translated, and provides really nice access to non-Anglocentric scholarship.

Tarot Skills for the 21st Century: Mundane and Magical Divination by Josephine McCarthy is, at present, peerless. It stands out from the pack and is a necessary addition to the contemporary tarot library. When one of the most incredible and prolific occultists of our time, one with over 45 years of tarot reading experience, publishes a book on the tarot, you sit up and you pay attention.

For make no mistake: Chöd is anything but a harmless placebo praxis, even in this broken-down version. As gentle and benevolent as the technique may come over; […] here it indeed becomes evident how the soft water persistently hollows the hard stone, grinds it down, reshapes and finally dissolves, in other words: eliminates it.