Donald Tyson
Teoksen Necronomicon: The Wanderings of Alhazred tekijä
Tietoja tekijästä
Donald Tyson is an occult scholar and the author of the popular, critically acclaimed Necronomicon series. He has written more than a dozen books on Western esoteric traditions, including Tarot Magic, and edited and annotated Agrippa's Three Books of Occult Philosophy. Donald lives in Nova Scotia, näytä lisää Canada. näytä vähemmän
Sarjat
Tekijän teokset
Enochian Magic for Beginners: The Original System of Angel Magic (For Beginners (Llewellyn's)) (2002) 164 kappaletta
Tetragrammaton: The Secret to Evoking Angelic Powers and the Key to the Apocalypse (1995) 51 kappaletta
Kinesic Magic: Channeling Energy with Postures and Gestures: Channeling Energy with Postures & Gestures (2020) 20 kappaletta
Cruising 2 kappaletta
Waller 1 kappale
Associated Works
The Demonology of King James I: Includes the Original Text of Daemonologie and News from Scotland (1966) — Toimittaja, eräät painokset — 103 kappaletta
Merkitty avainsanalla
Yleistieto
- Syntymäaika
- 1954-01-12
- Sukupuoli
- male
- Kansalaisuus
- Canada
- Asuinpaikat
- Halifax County, Nova Scotia, Canada
- Lyhyt elämäkerta
- Donald Tyson is a Canadian from Halifax, Nova Scotia. Early in life he was drawn to science by an intense fascination with astronomy, building a telescope by hand when he was eight. He began university seeking a science degree, but became disillusioned with the aridity and futility of a mechanistic view of the universe and shifted his major to English. After graduating with honors he has pursued a writing career. Now he devotes his life to the attainment of a complete gnosis of the art of magic in theory and practice. His purpose is to formulate an accessible system of personal training composed of East and West, past and present, that will help the individual discover the reason for one's existence and a way to fulfill it.
Jäseniä
Kirja-arvosteluja
Necronomicon: The Wanderings of Alhazred (Ne… Tekijä: Donald Tyson
A writer on the occult turns his talent to the most famous fictional tome and writes it. Bringing together the threads of HPL and friends many stories. Certainly very different.
It had a pretty cover. It reads like a companion book to Lovecraft's Elder Gods in his stories.
The library I checked it out from has cataloged this in non-fiction dewey decimal system 133.
I checked out "Necronomicon The Wanderings of Alhazred" from a different library the shelving is non-fiction. Humm...
The library I checked it out from has cataloged this in non-fiction dewey decimal system 133.
I checked out "Necronomicon The Wanderings of Alhazred" from a different library the shelving is non-fiction. Humm...
I have praised occultist Donald Tyson's Necronomicon pastiche as one of the best of its class. I was therefore a little disappointed with what I found in his book of practical cthulhvian magick Grimoire of the Necronomicon. On the whole, this text represents a hermetically domesticated approach to such sorcery, rife with concessions to make it accessible to the vulgar. Tyson has elaborated a conspicuously tidy pantheon of chaos deities, and burdened it with a quasi-Gnostic theology of his own devising, regarding the redemption of the goddess Barbelzoa, daughter of Azathoth.
Tyson's introduction is written earnestly in his own voice, but the rest of the book is portentously styled as formal instruction from the (non-existent, when he wrote it) Order of the Old Ones. This postulated organization is a strange case of aspirational invented religion. The author expresses his undisguised hope that practitioners will adopt the codes of ceremony, community, and rank that he sets forth here, but also seems unwilling to admit to any efforts on his part to realize such an eventuality beyond writing the book in hand. His chapter on "The Order of the Old Ones" says it "shall be established" using the imperative tone of a constitutional document and supplies plausible mechanisms by which his proposed system could generate the Order stochastically. There are in fact traces of bloggery and facebooking from professed representatives of the Order of the Old Ones from 2010 forward, including an alleged Temple of Azathoth, but if any real organizing has been done, it has had little visibility on the 'net. (So much the better for them, if they do exist.)
The four sections of the text are concerned with theology, material trappings, basic practices, and initiatory attainment. The material demands of the system are unambitious, and full of allowances for the limitations and convenience of the practitioner. The routine ceremonies of Nightly Obeisance and daily Rites (cycling through the seven pseudo-planetary Lords of the Old Ones) have a jarringly pious sensibility. The equinoctial Rite of the Dancing Gods has the sterile synthetic feel of much neo-Golden-Dawn-style ceremony. But the operation of "Opening the Gate" is a considered mechanism for private attainment drawing significant inspiration from Lovecraft's "Dreams in the Witch-House." It also reminds me somewhat of Stephen Sennitt's "Liber Koth," a more interesting astral itinerary for sorcerers of Yog-Sothoth.
A curious internal contradiction of the system of attainment set forth in Grimoire of the Necronomicon involves the requirement that "Lords" of the Order's highest grade must specialize in one of seven paths. The author does not overtly identify with any of them, and how he could write about them with authority is thus a puzzle.
Tyson has composed an Enochian "Long Chant" for use in his system. I give him good marks for his Enochian proficiency, and the commingling of Enochiana with yog-sothothery is well justified, but the content of the chant is so intrinsically "Barbelzoist" that I am unlikely to find any use for it. In the introduction, Aleister Crowley is mentioned in a discussion of the apparent moral valence of the system, but Tyson wisely avoids any attempt to implicate Crowley himself in yog-sothothery. The only detectable trace of actual Thelemic technique or doctrine in the body of the text is the "93 steps to the Black Throne of Azathoth" repeatedly invoked as a central image of the process of attainment.
For purposes of genuine magical work in a Lovecraftian mode, the Grimoire of the Necronomicon is inferior to Hine's Pseudonomicon and even to the relevant parts of LaVey's Satanic Rituals. In my library, this book's main value will be to document the plan for an esoteric invented religion which seems not to have manifested.… (lisätietoja)
Tyson's introduction is written earnestly in his own voice, but the rest of the book is portentously styled as formal instruction from the (non-existent, when he wrote it) Order of the Old Ones. This postulated organization is a strange case of aspirational invented religion. The author expresses his undisguised hope that practitioners will adopt the codes of ceremony, community, and rank that he sets forth here, but also seems unwilling to admit to any efforts on his part to realize such an eventuality beyond writing the book in hand. His chapter on "The Order of the Old Ones" says it "shall be established" using the imperative tone of a constitutional document and supplies plausible mechanisms by which his proposed system could generate the Order stochastically. There are in fact traces of bloggery and facebooking from professed representatives of the Order of the Old Ones from 2010 forward, including an alleged Temple of Azathoth, but if any real organizing has been done, it has had little visibility on the 'net. (So much the better for them, if they do exist.)
The four sections of the text are concerned with theology, material trappings, basic practices, and initiatory attainment. The material demands of the system are unambitious, and full of allowances for the limitations and convenience of the practitioner. The routine ceremonies of Nightly Obeisance and daily Rites (cycling through the seven pseudo-planetary Lords of the Old Ones) have a jarringly pious sensibility. The equinoctial Rite of the Dancing Gods has the sterile synthetic feel of much neo-Golden-Dawn-style ceremony. But the operation of "Opening the Gate" is a considered mechanism for private attainment drawing significant inspiration from Lovecraft's "Dreams in the Witch-House." It also reminds me somewhat of Stephen Sennitt's "Liber Koth," a more interesting astral itinerary for sorcerers of Yog-Sothoth.
A curious internal contradiction of the system of attainment set forth in Grimoire of the Necronomicon involves the requirement that "Lords" of the Order's highest grade must specialize in one of seven paths. The author does not overtly identify with any of them, and how he could write about them with authority is thus a puzzle.
Tyson has composed an Enochian "Long Chant" for use in his system. I give him good marks for his Enochian proficiency, and the commingling of Enochiana with yog-sothothery is well justified, but the content of the chant is so intrinsically "Barbelzoist" that I am unlikely to find any use for it. In the introduction, Aleister Crowley is mentioned in a discussion of the apparent moral valence of the system, but Tyson wisely avoids any attempt to implicate Crowley himself in yog-sothothery. The only detectable trace of actual Thelemic technique or doctrine in the body of the text is the "93 steps to the Black Throne of Azathoth" repeatedly invoked as a central image of the process of attainment.
For purposes of genuine magical work in a Lovecraftian mode, the Grimoire of the Necronomicon is inferior to Hine's Pseudonomicon and even to the relevant parts of LaVey's Satanic Rituals. In my library, this book's main value will be to document the plan for an esoteric invented religion which seems not to have manifested.… (lisätietoja)
4 
paradoxosalpha | 2 muuta kirja-arvostelua | Mar 24, 2018 |
paradoxosalpha | 2 muuta kirja-arvostelua | Mar 24, 2018 | 
Donald Tyson – Alhazred: The Author of the Necronomicon
Has any horror reader not heard tell of that tome of blackest occult knowledge, the Necronomicon? Invented by H.P. Lovecraft, and referred to in his ‘Cthulhu mythos’ stories, the fictional grimoire has achieved a mythic status, even acquiring its own rabid fans, self-styled ‘occultists’ who insist that the book, written, according to Lovecraft’s tales, by the ‘mad Arab’ Abdul Alhazred, must truly exist. Indeed, two books entitled ‘Necronomicon’ do exist – one written in the 80’s by an occultist associated with the now-defunct Magickal Childe shop in NYC, and one more recently by the author of ‘Alhazred,’ Donald Tyson.
Even during H.P. Lovecraft’s tragically short lifetime, he ‘shared’ elements of his mythos with friends and correspondents. The list of writers who have written stories influenced by his work is long and contains names not insignificant to horror fans. Among the classics are Ambrose Bierce, Robert Bloch, August W. Derleth, Robert E. Howard, Henry Kuttner and Clark Ashton Smith. More recently, contemporary horror and science fiction authors have also turned their pens to pay tribute to the master: Gene Wolfe, Ramsey Campbell, Harlan Ellison, Roger Zelazny: Poppy Z. Brite, Joanna Russ, Bruce Sterling, Esther M. Friesner, Thomas Ligotti and more were all featured in Arkham House Publishers’ tribute anthology ‘Cthulhu 2000.’
But by far the most ambitious and significant work of fiction based on Lovecraft’s work published to date must be ‘Alhazred: Author of the Necronomicon.’ Although the book is presented by a company known for their non-fiction New Age titles, Llewellyn, and its author, Donald Tyson, has written well over a dozen non-fiction works in the genre, ‘Alhazred’ is purely a work of fantastic horror fiction, with no pretensions toward occult revelation. Unlike Lovecraft’s output, which consisted mainly of short stories, ‘Alhazred’ is, itself, a significant tome, mysteriously weighing more than most books its size (Good-quality paper? Or something more inexplicable?), and numbering 667 pages (Why not 666? – Now that’s a wasted opportunity).
The book tells the story of Lovecraft’s ‘mad Arab’s early years, before his writing of his book of black magic. The background given by Lovecraft is skimpy enough - in his ‘History of the Necronomicon’ he wrote:
“mad poet of Sanaá, in Yemen, who is said to have flourished during the period of the Ommiade caliphs, circa 700 A.D. He visited the ruins of Babylon and the subterranean secrets of Memphis and spent ten years alone in the great southern desert of Arabia — the Roba el Khaliyeh or "Empty Space" of the ancients.... In his last years Alhazred dwelt in Damascus.”
Tyson follows this outline, starting with Alhazred’s beginnings as a talented youth under the patronage of a wealthy caliph, and following him through many wanderings and quests to Damascus – but he fleshes out the story in many ways, some of which may delight Lovecraft purists, others which may raise quibbles. Alhazred’s illegal studies of necromancy and occult knowledge are tolerated – until he angers the caliph by conducting an illicit affair with his daughter. Grotesquely punished and mutilated, he is cast out and begins his life as a wanderer. Falling in with a tribe of flesh-eating ghouls in the ‘Empty Space,’ for the rest of the story, he self-identifies as a ghoul, not a man. He becomes, unwillingly, the tool of the mysterious Dark Chaos, Nyarlathotep, who repeatedly visits him in dreams. He encounters a djinn, who takes up residence in his body, and later acquires a partner in crime, a girl, Martala, from a family of grave-robbers. From a writer’s perspective, the inclusion of Martala makes sense. Alhazred is a remarkably non-sympathetic character, completely amoral and without any feelings except those conducive to self-preservation and the gain of necromantic knowledge. He isn’t someone that the average reader can easily connect with. Even though she has few ethical standards, Martala is still human, and acts as a foil to his character.
Lovecraft purists may also object to the literary style of the book. Tyson is an accomplished writer – but his style is nothing like that of Lovecraft. Lovecraft loved antiquarian words, and intentionally created a very 18th-century feel to his stories, using phrases and terms which were already out-of-fashion when he was writing. He also is frequently lauded for his ability to conjure an atmosphere of terror and fear without coming right out and telling the reader. His horrors often happen off-screen, as it were. His writing is full of things that cannot be named, monsters which the mind cannot encompass, gods whose visages cannot be described… Tyson, on the other hand, can be compared more accurately to stylists such as Clive Barker. He has no problem coming right out and telling his readers every disgusting and gory detail – there are several scenes in the book which are not for the faint-of-stomach.
Still, for any reader who doesn’t mind imagining exactly how it might feel and taste to consume a human brain straight from the skull… and who appreciates Lovecraft’s mythos, this homage to his work is a respectful tribute – as well as an entertaining novel with a good mix of adventure and horror.
Biographical note:
Althea spent several of her formative years in Providence, Rhode Island, home of the master of horror H.P. Lovecraft. After school, she would often hang out in Swan Point Cemetery, site of his final resting place, where her friend did at one point in time encounter a giant and rather horrific slug with her bare foot - but the Elder Gods never made themselves manifest.
… (lisätietoja)
Has any horror reader not heard tell of that tome of blackest occult knowledge, the Necronomicon? Invented by H.P. Lovecraft, and referred to in his ‘Cthulhu mythos’ stories, the fictional grimoire has achieved a mythic status, even acquiring its own rabid fans, self-styled ‘occultists’ who insist that the book, written, according to Lovecraft’s tales, by the ‘mad Arab’ Abdul Alhazred, must truly exist. Indeed, two books entitled ‘Necronomicon’ do exist – one written in the 80’s by an occultist associated with the now-defunct Magickal Childe shop in NYC, and one more recently by the author of ‘Alhazred,’ Donald Tyson.
Even during H.P. Lovecraft’s tragically short lifetime, he ‘shared’ elements of his mythos with friends and correspondents. The list of writers who have written stories influenced by his work is long and contains names not insignificant to horror fans. Among the classics are Ambrose Bierce, Robert Bloch, August W. Derleth, Robert E. Howard, Henry Kuttner and Clark Ashton Smith. More recently, contemporary horror and science fiction authors have also turned their pens to pay tribute to the master: Gene Wolfe, Ramsey Campbell, Harlan Ellison, Roger Zelazny: Poppy Z. Brite, Joanna Russ, Bruce Sterling, Esther M. Friesner, Thomas Ligotti and more were all featured in Arkham House Publishers’ tribute anthology ‘Cthulhu 2000.’
But by far the most ambitious and significant work of fiction based on Lovecraft’s work published to date must be ‘Alhazred: Author of the Necronomicon.’ Although the book is presented by a company known for their non-fiction New Age titles, Llewellyn, and its author, Donald Tyson, has written well over a dozen non-fiction works in the genre, ‘Alhazred’ is purely a work of fantastic horror fiction, with no pretensions toward occult revelation. Unlike Lovecraft’s output, which consisted mainly of short stories, ‘Alhazred’ is, itself, a significant tome, mysteriously weighing more than most books its size (Good-quality paper? Or something more inexplicable?), and numbering 667 pages (Why not 666? – Now that’s a wasted opportunity).
The book tells the story of Lovecraft’s ‘mad Arab’s early years, before his writing of his book of black magic. The background given by Lovecraft is skimpy enough - in his ‘History of the Necronomicon’ he wrote:
“mad poet of Sanaá, in Yemen, who is said to have flourished during the period of the Ommiade caliphs, circa 700 A.D. He visited the ruins of Babylon and the subterranean secrets of Memphis and spent ten years alone in the great southern desert of Arabia — the Roba el Khaliyeh or "Empty Space" of the ancients.... In his last years Alhazred dwelt in Damascus.”
Tyson follows this outline, starting with Alhazred’s beginnings as a talented youth under the patronage of a wealthy caliph, and following him through many wanderings and quests to Damascus – but he fleshes out the story in many ways, some of which may delight Lovecraft purists, others which may raise quibbles. Alhazred’s illegal studies of necromancy and occult knowledge are tolerated – until he angers the caliph by conducting an illicit affair with his daughter. Grotesquely punished and mutilated, he is cast out and begins his life as a wanderer. Falling in with a tribe of flesh-eating ghouls in the ‘Empty Space,’ for the rest of the story, he self-identifies as a ghoul, not a man. He becomes, unwillingly, the tool of the mysterious Dark Chaos, Nyarlathotep, who repeatedly visits him in dreams. He encounters a djinn, who takes up residence in his body, and later acquires a partner in crime, a girl, Martala, from a family of grave-robbers. From a writer’s perspective, the inclusion of Martala makes sense. Alhazred is a remarkably non-sympathetic character, completely amoral and without any feelings except those conducive to self-preservation and the gain of necromantic knowledge. He isn’t someone that the average reader can easily connect with. Even though she has few ethical standards, Martala is still human, and acts as a foil to his character.
Lovecraft purists may also object to the literary style of the book. Tyson is an accomplished writer – but his style is nothing like that of Lovecraft. Lovecraft loved antiquarian words, and intentionally created a very 18th-century feel to his stories, using phrases and terms which were already out-of-fashion when he was writing. He also is frequently lauded for his ability to conjure an atmosphere of terror and fear without coming right out and telling the reader. His horrors often happen off-screen, as it were. His writing is full of things that cannot be named, monsters which the mind cannot encompass, gods whose visages cannot be described… Tyson, on the other hand, can be compared more accurately to stylists such as Clive Barker. He has no problem coming right out and telling his readers every disgusting and gory detail – there are several scenes in the book which are not for the faint-of-stomach.
Still, for any reader who doesn’t mind imagining exactly how it might feel and taste to consume a human brain straight from the skull… and who appreciates Lovecraft’s mythos, this homage to his work is a respectful tribute – as well as an entertaining novel with a good mix of adventure and horror.
Biographical note:
Althea spent several of her formative years in Providence, Rhode Island, home of the master of horror H.P. Lovecraft. After school, she would often hang out in Swan Point Cemetery, site of his final resting place, where her friend did at one point in time encounter a giant and rather horrific slug with her bare foot - but the Elder Gods never made themselves manifest.
… (lisätietoja)
1 AltheaAnn | 2 muuta kirja-arvostelua | Feb 9, 2016 |
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