An Introduction to Aeonic Sorcery

Order of Nine Angles



Classic O9A Texts

An Introduction to Aeonic Sorcery

ONA Manuscripts
Main Category: Aeonic Theory & Praxis
Sub Category: Aeonic Sorcery
Author: Anton Long
Date: 105 yf
Version 1.05
Last revised 109 yf
Previous Title: Aeonic Magick – A Basic Introduction


O9A Aeonic Theory


Another Academic Misinterpretation

Order of Nine Angles



A 2017 essay by Della E. Campion of the University of Washington – who has written various essays about modern esotericism and modern Satanism – deals with the Order of Nine Angles document titled The Culling Texts, containing as that document does the five (mostly vintage) texts (i) Concerning Culling as Art, (ii) A Gift for the Prince – A Guide to Human Sacrifice, (ii) Victims – A Sinister Exposé, (iii) Culling – A Guide to Sacrifice II, (iv) Guidelines for the Testing of Opfers, (v) Satanism, Sacrifice, and Crime – The Satanic Truth.

There are serious flaws with the essay and which flaws undermine the argument and conclusions of Campion.

The article by Ms Scott enumerates these five serious flaws and, by referencing O9A primary sources, deals with each in detail.

Another Academic Misinterpretation Of The Order Of Nine Angles

Classifying O9A Texts

Order of Nine Angles



Classifying O9A Texts

Since the early 1980s, beginning with the Black Book of Satan, the Order of Nine Angles (O9A, ONA) has published and circulated thousands of texts; so many in fact that one academic wrote:

“the ONA has produced more material on both the practical and theoretical aspects of magic, as well as more ideological texts on Satanism and the Left-Hand Path in general, than larger groups such as the Church of Satan and the Temple of Set has produced in combination [which] makes the ONA an important player in the theoretical discussion of what the Left-Hand Path and Satanism is and should be according to the practitioners.” {1}

Given (i) the sheer volume of O9A texts, (ii) the growing interest in the O9A both academically and otherwise, and (iii) the profusion of recent (post-2011) texts dealing with aspects of O9A esotericism such as links to Hellenic hermeticism and why the O9A represents a ‘sinister-numinous’ and modern pagan tradition {2}, it seems apposite to place now familiar O9A texts into their historical and esoteric context.

T.W.S. Nexion
129 yf

{1} Senholt, Jacob. The Sinister Tradition. A paper presented at the international conference, Satanism in the Modern World, held at the Norwegian University of Science and Technology in Trondheim on the 19-20th of November, 2009. p.26
{2} Qv. (i) and (ii)

Afsana, Yusra, And The Green Damask Room

Order of Nine Angles



For decades, the esotericism of the Order of Nine Angles (ONA, O9A) – its unique esoteric tradition – has been either neglected or scorned by both modern occultists and by academics who have written about Western esotericism.

In order to facilitate research into the O9A we provide here some comments about two hitherto ‘secret’ aspects of O9A esoteric tradition: the Rite of Afsana, and the location associated with Yusra, both of which are mentioned in certain questions that those publicly declaring themselves knowledgeable about the O9A – usually via the medium of the Internet – were (from around 2008 on) sometimes asked to answer in order to verify their claim to knowledge. {1}


In origin, the term Afsana is Persian, and centuries old; an origin evident in the Persian title of an ancient book: Hazar Afsan, هزار افسان, and which book is a compilation of various short (enchanting) tales, some of which tales are quite similar (and occasionally almost identical) to some of the ones in the collection known in the West under the title The Thousand And One Nights, أَلْف لَيْلَة وَلَيْلَة‎.

The zahr (exoteric, outer) meaning of the term implies a (usually short) fictional story, while the batin (esoteric, inner, hidden) meaning implies an enchanting story or myth and which story or myth may be “archetypal” and thus numinous and thus may not necessary reflect or detail actual events. In the older stories, sorcery – and esoteric entities such as Jinn – play an important role. {2}

As for why a Persian word is used by the ONA, a text explaining what the ONA mean by the term ‘nine angles’ explains that:

“The inspiration for – or the tradition used by – the Order of Nine Angles/Anton Long was the ἄνοδος (septenary, Hermetic, or otherwise) described historically in various Hellenic, Indic, Persian, and alchemical texts, such as the Pymander tractate of the Corpus Hermeticum and the Arabic MS Al-Kitab Al-Alfak.” {3}

That is, the ONA is referencing a Western esoteric tradition {4} much older than, and independent of, the Magian cabala and a tradition which has been neglected by almost all modern academics who have written about Western esotericism, focused as such academics have been on the much more recent, and distorted, Magian tradition used by the likes of The Golden Dawn, Crowley, Levey, Aquino, and virtually all non-ONA Western occultists.

As the ONA also note, their tradition – of a septenary anados and of ‘the nine angles’ – may be derived, or be a continuation of, an ancient and pagan Greco-Roman tradition and which Greco-Roman tradition may have influenced Persian and Indic esoteric traditions, or it might be that earlier Persian and Indic traditions may have influenced that pagan Greco-Roman tradition. Unless and until more academic research is undertaken the actual origin of the septenary anados and of ‘the nine angles’ will be moot.


In respect of Yusra, the question asked is: “What one [singular] terrestrial location is used in calling forth Yusra?”

The answer as to location is encoded in the painting The Green Damask Room. The location is far from Shropshire and is not in Europe.

As for who or what Yusra is, while the word occurs in the Quran – for example جار ومجرور – and is sometimes used as a female first name in Arab lands, one has to bear in mind the distinction between zahr and batin, between the exoteric and the esoteric meaning.

Thus it is possible that the name might (or might not) refer to some ancient (possibly Near Eastern) female ‘goddess’.

The Green Damask Room


There are four “encodings” in the painting by Richard Moult to which he gave the name The Green Damask Room.

Two reflections in the suspended polyhedron which depict two locations in Shropshire, personal to the subject of the painting and of general interest regarding the history of a certain Esoteric Tradition.

The sigil above the polyhedron is an encoding of the secret name of ‘Satan’ according to that Tradition.

Although it may be reproduced as such, the polyhedron itself is not an intentional depiction of an inverted Septenary symbol (and thus does not necessarily require reverting). Rather – and interestingly given its resemblance to the Septenary sigil – it is the pattern which emerged via the encoding of the name of the terrestrial location associated with “Yusra” and the “New Aeon”.

In addition, the ‘Green Damask Room’ – named and known as such among family, friends, and selected invited guests – exists in a certain large house in a certain location in a certain country.

2018 ev

This is an edited and revised version of an article first published on the TWS Nexion blog in January 2017.

{1} The ten questions – since supplemented by three more – are:

1) What is the meaning and the correct uses [plural] of the term Fayen?
2) What alchemical season is appropriate to Dabih and why?
3) What is the reason that Petriochor is used in the Rite of Afsana, and what is this Rite?
4) What one [singular] terrestrial location is used in calling forth Yusra?
5) How do the Nine Angles relate to Azal, Dhar and Zamal, and what Earth-bound (causal) form (structure/construct) is used to symbolize this?
6) What symbolic structure/construct is beyond the (advanced) form that is The Star Game?
7) How does the causal phenomena perceived in the causal as “gravity” relate to a specific type of acausal energy, and what has this to do with the Dark Gods mythos and the nexion that is the planet Earth?
8) What is the esoteric name of the acausal entity that has the common exoteric name Satan?
9) What manuscript, other than Al-Kitab Al-Alfak, is a source for the nine emanations?
10) Where and when was Al-Kitab Al-Alfak written and what name appears on the title page.

Three further questions were added because: (i) a few years ago an O9A Adept publicly provided a clue to the answer to question (6), and (ii) some of the clues provided by Anton Long in relation to question (5) enabled a sagacious non-O9A-Adept to solve the riddle; and (iii) the ONA recently published the answer to question (1) at

{2} There is an interesting book titled Le Féminisme de Schéhérazade, La Révélation des Mille et une nuits, written by Marie Charlotte Heloïse Hollebecque and published in 1927 in Paris, which emphasized the role of women in the older stories.



Quintessence Of The O9A

Order of Nine Angles



Quintessence Of The Order Of Nine Angles


I. O9A 101
II. The Esoteric Philosophy Of The Order Of Nine Angles
III. The Multiform O9A
IV. Surpassing Anton Long

Order of Nine Angles Occult Fiction

Order of Nine Angles



O9A Occult Fiction

The pdf document contains three classic Order of Nine Angles texts concerned with the Occult fiction of the O9A and with the Sinister-Numinous Aesthetic which permeates that fiction. Part of that aesthetic is the pagan, ancestral, rural landscape as described in many fictional O9A stories.

As noted in the text Esoteric Aural Tradition In The Deofel Quartet, included in the compilation,

“In many ways, The Deofel Quartet and other O9A [Anton Long] written fiction (such as Hangster’s Gate), present much of the diverse aural traditions as AL 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.”

129 yf
(March 2018 ev)



The Deofel Quartet

Eulalia: Dark Daughter Of Baphomet

O9A Sinister Vignettes
(External Link)

Esoteric Notes Concerning The Numinous

Order of Nine Angles



Given that the term numinous is part of the O9A expression ‘the sinister-numinous tradition’ – and thus relevant to understanding the esotericism of the Order of Nine Angles – we present here two articles which discuss the term in some detail.

The articles provide the required historical, metaphysical, and esoteric, context for correctly understanding the term and which context reveals, contrary to a popular misunderstanding, that the term ‘numinous’ – implying “of or relating to a god or a divinity, revealing or indicating the presence of a divinity; divine, spiritual” – was used in English centuries before Rudolf Otto appropriated it to describe mysterium tremendum et fascinans and thus restricted it to religions and to religions experience, which restrictive religious use is quite different from Myatt’s metaphysical usage:

“The numinous is what manifests or can manifest or remind us of (what can reveal) the natural balance of ψυχή; a balance which ὕβρις upsets. This natural balance – our being as human beings – is or can be manifest to us in or by what is harmonious, or what reminds us of what is harmonious and beautiful.”

Esoteric Notes Concerning The Numinous


° Preface
° I. A Note Regarding The Term Numinous.
° II. The Muliebral Numinous.