April 4, 2018 § 1 Comment
This isn’t a review of Alex Garland’s Annihilation, based on the 2014 novel by Jeff VanderMeer, mainly because, to a large degree, I didn’t think it was particularly good as a film. The characters felt inconsequential and poorly portrayed, particularly Jennifer Jason Leigh’s unhinged leader Dr Ventress, as opposed to the specifically blank canvases in the original book. It also delved overly-long into needless flashbacks, long after any normal viewer had got the full point of those sojourns into the past, when the book made them part of a fluid and bewildering timeline.
I’m also, despite those two cross-media comparisons, not particularly interested in delineating the differences between book and film, something I think is often required in movie adaptations.
What I do what to talk about, however, are some of the concepts the film itself whispers about behind the scenes of the apparent narrative. Who we are and who we were. How we think of ourselves and others. What happens when those distinctions begin to break down.
March 12, 2018 § Leave a comment
In the introduction to Psychonaut, his seminal collection of essays on the practice of chaos magic, Peter Carroll wrote these words:
Whenever history becomes unstable and destinies hang in the balance, then magicians and messiahs appear everywhere. Our own civilisation has moved into an epoch of permanent crisis and upheaval, and we are best by a plague of wizards.
This statement seems apt in today’s socio-political climate but, given that it was written slightly over thirty years ago, the sentiments are actually distressingly prescient.
This short essay will be less a review of Carroll’s twin introductory works of Psychonaut and Liber Null, you can read the book for that, and more of an attempt to explain why there has been no better time to understand the workings of chaos magic by showing how chaos magic, in theory if not in spirit, is already being used against every one of us every second of every day by our world’s power systems.
The First Truth of Chaos – Everything is in flux, flux is in everything.
In Carroll’s work, chaos magic is less about actively transforming the external universe by force but transforming oneself and, through that transformation, achieving a metamorphosis – a sleight of mind – that allows the chaos magician to flow with the currents of reality, accepting them all as useful. The chaos magician should be able to eradicate old habits and adopt new ones freely, without the inertia or distress this often brings, to adapt to any situation that faces them.
Liberating behaviour is that which increases one’s possibilities for future action. Limiting behaviour is that which tends to narrow one’s options.
Modern power systems, perhaps through a process of sheer animal cunning, exercise this chaotic process on a daily basis. Few of us are surprised by a political u-turn or explanation of how an apparently sincere policy decision was ‘misspoken’, yet if a friend or family member suddenly denied previous actions or statements, ones that can be evidenced to have happened, we begin to doubt their sanity. Where the chaos magician uses this fluidity to slip through the corridors of reality, power systems use it to disorientate and confuse those they wish to dominate. The concepts of ‘gaslighting’ and ‘fake news’, confusing the victim by making them doubt the solidity of their assumptions, are prime examples of chaos magic theory being used as a tool of suppression.
A politician, or any other individual for whom power is the ultimate goal, will always look to increase their possibilities for future action. Even the language of politics – of it being a game, constructed of manoeuvres – makes this explicit; a game where no possibility remains is no longer a game.
The Second Truth of Chaos – The sigil is the eye of power.
To formulate a desire makes it vulnerable to external forces and, perhaps most importantly, the inner enemies lurking in the magician’s own mind. Taking the articulation of that desire and rendering it down to its most meagre parts, either by deconstructing it in its written form or creating an abstracted image from a picture of its outcome, creates a ghost of desire that can drift through the nets of doubt, of fear, of fatigue. The desire becomes insidious, pervasive. By this method the chaos magician performs a near-Buddhist form of ‘unwanting’; the desire is poured into the sigil, empowering it as an avatar and releasing it from the frailties of the magician.
Sigils work because they stimulate the will to work subconsciously, bypassing the mind.
Again, though, the flip side of this technique exists as a cage around us. The Newspeak cant of business language, and the euphemistic military terminology it is derived from, are a combination of chaotic sleight-of-mind and sigilisation. Apparently positive words (surgical, precise, enhanced) are used to described negative events, blithely waving away any contradiction. Equally, corporate logos are distilled and abstracted through a form of sigilisation to imply dynamism, progression, strength, power. The Nike swoosh tells us nothing about what Nike do as a company, yet we would all recognise it and its sense of athletic agility. The McDonald’s logo is no longer simply an M, it is a pair of golden arches leading to somewhere better. Meaning is obfuscated and ultimately forgotten, replaced with a vague, bland hint at what is actually meant.
High-end advertising is the synthesis of this corruption of language and imagery. Few perfume adverts, for example, talk about the essence of what they are selling, the smell of a liquid. They remove meaning from their message so it becomes abstracted, too vague to catch hold of. Sigils become blended and self-referential; Perfume X is desirable because it is worn by Celebrity Y, Celebrity Y is desirable because they wear Perfume X.
The Third Truth of Chaos – Every word of it is a lie.
Chaos magic is not magic. It invokes no external powers, calls to no spirit nor demon. It needs no incense or flaming oils beyond those that theatricality demands. Even the eight-pointed star, hyper-sigil of chaos itself, is merely a logo created by the writer Michael Moorcock sometime in the 1960s.
Chaos magic is simply the will of the magician imposed upon themselves and, in that, it is the most democratic of magics. The chaos magician is not the haughty king but the smirking jester, not part of an elite born to power but one who has found power within themselves by becoming aware of how little what is often thought of as ‘power’ truly matters. Those who cling to political or economic power for its own sake will find themselves lost, chasing their own tails for ever-decreasing rewards, whilst the true chaos magician, standing silently to one side, looks on with a wry smile.
In trying to develop the will, the most fatal pitfall is to confuse will with chauvinism of the ego. Will is not will-power, virility, obstinacy, or hardness. Will is unity of desire.
This gives us a defence against the psychic war being waged by the complex of power systems around us, using corrupted forms of chaos magic; laugh at them, show them up for how absurd they truly are. Laugh at the pomposity of petty egos, laugh at the manufactured needs that capitalism blinds us with, laugh at your own insignificance in a void that rings with laughter.
And then you will be free.
Laughter is the only tenable attitude in a universe which is a joke played upon itself. The trick is to see the joke played out even in the neutral and ghastly events which surround one. Seek the emotion of laughter at what delights and amuses, seek it in whatever is neutral or meaningless, seek it even in what is horrific or revolting.
January 23, 2018 § Leave a comment
I’m very pleased to once again be published in Dead Reckonings, this time the Fall 2017 issue, number 22.
I talk about the nature of mystery and horror in some of the works of Sidney H Sime, an English artists most famous for his illustrations of Lord Dunsany’s fantastical work, and also cover Jeffrey Thomas‘s excellent collection of weird and eerie fiction, ‘Haunted Worlds‘
Death, exile and madness are all ultimate states of non-being that give the shape to our being. They are the black sea that define our islands of light and life. We experience them only at the very extremes of our lives, as we move from the obvious to the occulted, and it is impossible for us to truly imagine what that moment of transition will be like; before the transition we are as we have always been, afterwards we are fundamentally different.
Dead Reckonings is available directly from Hippocampus Press.
October 29, 2015 § Leave a comment
There is a book, or so they say, that sits upon a lonely shelf.
Neither large nor small it goes all but unnoticed next to more important volumes as its cloth cover fades slowly from brown to green. Or maybe from green to brown. Maybe not fading at all. The ghost of silver embossment lingers on its spine, indecipherable. A commonplace book in a common place of books, with nothing to mark it out beyond a slight smell of damp.
Occasionally, curious fingers will pick the book up and absently ruffle the yellowing pages that fall open at random to reveal their contents; mediocre poetry or tedious inventories of belongings, rambling short stories or blocks of impenetrable legal text, descriptions of rain-streaked foreign shores or the simple musings of lifeless repetition. Each browser sees something different, yet equally banal, and each will sigh with disappointment before replacing the book and moving to the next. The book’s cover fades slightly more from brown to green. Or maybe from green to brown. The faint lettering on the spine is perhaps less clear than it used to be. Perhaps not.
More rarely, the book is plucked from its resting place by an inquisitive reader and opened eagerly at the first page. They read the publishing details, curiously blurred, and then the typesetting information (“Set in New Lethean, 11pt”). Their eyes settle on the opening lines and from then on their fate is sealed. As they read, they become thinner and the story of their life unwritten becomes yet another fragment of the book. The frustrated novelist, the list-maker, the writer of unheard songs. All of them stretch into lonely silence until they become so thin they disappear, another tale of the everyday added to the pages of the book’s collection. A tutting librarian finds the book days later, dropped on the floor, and dusts it down before replacing it on the shelf. Nobody notices that the spine’s lettering is now perhaps less faint, perhaps a brighter silver.
Of the book itself we know little more, beyond its existence. It is where books are, where books gather, but where that is could be anywhere. All we really know is that hook, the opening words that snare the curious or the unlucky. And those words are these:
“There is a book, or so they say, that sits upon a lonely shelf.”
January 6, 2014 § Leave a comment
Picture Yourself on a chair, feeling drowsy. The fire crackles slowly as Your head fills with cloud. And Your eyes start to buckle, start to falter and darken. And You’re floating off softly into Space, into Time, into past-felt adventurers of a child. Of a You.
Of a You that was once and was once not long ago now. When Your eyes were much clearer and You saw what was there. And You stood in the garden, saw the things past the hedges. And You stood on the doorstep, saw the thing in the hall.
But they told You that You shouldn’t and You mustn’t so You didn’t and You wouldn’t until You couldn’t and You can’t anymore. And that’s when they lost You. Down the gaps and through the doorways. Out the windows that are open and the wind blows in cold.
Out the window, out the window. Is there something out the window? Always something out the window but it means nothing now. There’s a You by a doll’s house looking in through the window. Looking in at the doll’s room and the doll’s lying there.
And a You feeling drowsy is feeling drowsy no longer because a You feeling drowsy is awakened, with a small sigh. And You’re looking at the window, at the window that is open. When You look up at the window there’s an eye looking in.
There’s a river round the doll’s house and a garden and a mountain but the garden’s full of stones now and the mountain’s hollowed out. And the stones sometimes are moving, sometimes weeping, sometimes moving. And the stones have hollow voices and the mountain leads the song.
There’s a wind-vane on the rooftop, always creaking as the wind blows. With its wings stretched and its claws out and it sits there, watching still. And a man lies in a bedroom, in a cellar, by the cold stones. And they lie there and were lied to and in lying, Truth’s found.
What it is now, what it was then, there’s no difference. Nothing changes. When You’re stood there in the doll’s house, as the wind blows round about. And the old man on the doorstep isn’t leaving ’til you’ve paid him. And You pay him, like they all do, with the first-minted coin.
Hear an organ playing music, playing softly. Never-changing. But You’re changing. Growing dimmer, getting lost in the fog. In the fog made out of cobwebs, music boxes and of old news. Out of whispers, out of soldiers, out of children, out of stares.
So the dust motes start to gather but You can’t even see them with Your dew-slick eyes blinkered by old, wrinkled skin. And the breaths come but sharply. Longer pauses, little wonder. Little hands clutching here-there with their nails black and long.
Until it doesn’t any longer and you couldn’t if You wanted but now it feels like You don’t want it so it doesn’t and it’s fine. For a moment, just a moment, there is sunlight for the first time in a long time and You’re flying through the window and