Recommended Reading List

Order of Nine Angles Sigil

O9A

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Order Of Nine Angles
ONA/O9A
Recommended Reading List

Given the plethora of texts about O9A esotericism and O9A praxises published – in line with the move from Phase II to Phase III of O9A Aeonic Strategy {1} – between 2015 and 2019, it is germane to issue a new Recommended Reading List especially as the previous one dated from the 1990s and was not subsequently updated.

The majority of the recommended texts are currently – January 2019 ev, 130 yfayen – available on the O9A blog at omega9alpha dot wordpress dot com, locatable using the ‘search’ function of that blog and the title(s) listed below.

Caveat Lector

The curious, or the neophyte, reader of O9A texts should be aware of three things.

1. That O9A texts were written over a period of some forty years with the O9A having, even by 2009,

“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.” {2}

The time-scale of some forty years and the quantity of O9A texts means that it easy for the curious, or the neophyte, reader to become confused especially as they may find some texts which seem on a first or even on a second reading to contradict some other text or texts.

2. Some of this confusion was intentional – part of the O9A’s Labyrinthos Mythologicus – since the curious, and especially neophytes, were expected to work some things out for themselves such as discovering or having an Occult intuition regarding the distinction between the exoteric (some outer form or appearance or useful tool) and the esoteric (the essence hidden by some form, by appearance, by what a useful tool can create or be used for).

3. That most individuals critical of the O9A, be they self-described ‘satanists’ or otherwise, and most academics who have written about the O9A, have (i) not bothered to study the entire O9A written corpus from the 1970s to the present, and (ii) have failed to understand or to intuit the difference between O9A esotericism and exoteric appearance (useful exoteric tools and forms), or (iii) became lost in and confused by the O9A’s Labyrinthos Mythologicus.

           The result being a lack of knowledge about, and a lack of insight into, the O9A, its praxises, and its esotericism. Which ignorance – which lack of knowledge and lack of insight – did not and does not prevent such individuals and such academics {3} from pontificating about the O9A.

Rachael Stirling
TWS Nexion
January 2019 ev

{1} See Geneseos Caput Tertium. Documents of the Inner O9A, 122 yfayen.
{2} Jacob C. Senholt, The Sinister Tradition. Paper presented at the international conference, Satanism in the Modern World, Trondheim, 19-20th of November, 2009. p.26.
{3} In regard to one recent academic misunderstanding, see the 2018 text Another Academic Misinterpretation Of The O9A.

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Recommended Reading List

Introductory Texts

For those interested in or curious about the Order of Nine Angles.

° O9A 101
° The Exoteric And Esoteric Reality Of The O9A
° In The Name Of The Order Of Nine Angles
° Classifying O9A Texts
° Labyrinthos Mythologicus
° A Modern Practical Guide To The O9A Seven Fold Way
° The O9A Septenary Sigil
° Overview Of The Contemporary Secret Society Known As The Order of Nine Angles
° Some Anti-O9A Propaganda Exposed

O9A Esotericism: Practice

For those interested in what is involved in following the O9A Seven Fold Way; and those interested in beginning their own practical hermetic quest along the traditional Seven Fold Way.

° Complete Guide To The Order of Nine Angles. Seventh Edition (2015), 1460 pages, pdf 55 Mb. A comprehensive guide to the traditional Seven Fold Way up to and including the Grade Rituals of Internal Adept and The Abyss. It contains facsimile versions of 1980s and 1990s O9A texts such as Naos, The Black Book of Satan, and the complete Deofel Quartet, as well as classic texts such as The Grimoire of Baphomet, The Culling Texts, Enantiodromia:The Sinister Abyssal Nexion, and the Esoteric Chant Archive.

° O9A Occult Fiction And The Sinister-Numinous Aesthetic.

° Introducing The Star Game. An overview of the O9A Star Game as an “esoteric language”.

° O9A: The Dark Art Of Shrenching. An introduction to that Dark Art by reference to one of the novels of the Deofel Quartet.

° Culling And The Code of Kindred Honour.

O9A Esotericism: Theory

For those interested in learning more about O9A esotericism and about its hermetic, and pagan, roots.

° The Esoteric Hermeticism Of The Order Of Nine Angles. A 159 page (pdf) compilation issued in 2015 containing texts such as Aρρενόθηλυς: Alchemical And Hermetic Antecedents Of The Seven Fold Way, and The Pagan Order Of Nine Angles .

° O9A Texts 2018. A listing of some of the texts issued in 2018, and between 2016 and 2017. The texts listed include (i) The Eludent O9A; (ii) The Latin Picatrix, The Arabic Ghayat al-ḥakim, And The O9A Septenary System; (iii) Sigils In Medieval And Renaissance Occult Texts; (iv) O9A Esoteric Notes LXXVI: Archaic Spelling In O9A Esoteric Tradition; (v) Esoteric Notes LV: Chants and Mimesis In The Sinister Tradition of The Order Of Nine Angles; (vi) Non-English Names And Terms In O9A Tradition; and (vii) A Modern Mysterium.

°The Tree Of Wyrd And The Star Game.

° Masculous And Muliebral: The Sinister Feminine And Homo Hubris.

° The Anti-Patriarchal O9A Ethos.

° Distinguishing The O9A.

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The Apolitical Deofel Quartet

Order of Nine Angles

O9A

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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 however 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 in the 1970s and the 1980s) present

“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.”

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,

“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.”

Thus, The Greyling Owl deals

“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.”

Thus, this paean to Sapphic love, from Breaking The Silence Down, the novel often considered as making the Deofel ‘quartet’ into a quintet of esoteric novels:

“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.”

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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Related:
The Deofel Quartet

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Our Role-Playing World

O9A Insight Role

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The Role-Playing World Of The O9A

The Order Of Nine Angles (ONA, O9A) could be considered to be a φαντασία, that is, a making visible (of some-thing). A phrenic image, an imagining; a phrenic apprehension of an object of perception; an ingenious invention or design; a visionary notion, a fantasy.

In less pedantic, and more practical, terms, it could be understood as a new genre of fantasy role-playing games: a modular game that occurs and is acted-out in real-life with the player interacting with real people and assuming various roles. A game with no set rules, no manual, only guidelines some of which conflict with other ones and some of which are, or seem to be, confusing and/or polemical and/or distracting.

It is a game with no time limit whose only goal is pathei-mathos (a learning from practical, hard, experience) via playing the game. It is a modular game because the player can choose to construct their apprehension, their version, their fantasy, of the O9A from various modules such as ‘satanist’, or ‘Rounwytha’, or ‘Drecc’, or ‘pagan sorcerer’, or ‘Balobian’ or ‘seeker along the seven fold way’, or anarchist, or ‘neo-nazi’ or even ‘terrorist’, with one of the guidelines of the game being that any player can invent or design a new module (in O9A esoteric-speak, a new Insight Role, a Grade Ritual such as that of Internal Adept) and add it to the game.

It is also a game of conflict: conflict with other ‘satanists’ or with other ‘sorcerers’ or conflict with those whose apprehension or fantasy of the O9A differs from theirs; and/or conflict with those who oppose the ideology, the actions, the beliefs, of whatever “Insight Role(s)” the player has adopted. There could even be conflict with and within one’s self: between one’s ‘dark’ or sinister (amoral) side and one’s ‘numinous’ or emphatic (moral) side.

Being a fantasy role-playing game, it does not exist in cyberspace but rather in both the lives of those who play the game for however short a time, and in the making visible – the presencing, the fantasy – that a player may have of the game. For it exists as an apprehension by the player and/or by the opponent, but which apprehension may include an image or images of it (or modules relevant to it) accessible via cyberspace.

As a particular type of fantasy role-playing game it has no ‘leader’, needs no organization, requires no hierarchy of instructors, and is not and cannot be copyrighted. In sum: the fantasy O9A can be whatever the player desires it to be or believes it should be. Rather like modern satanism itself.

In the original, classic game – as played back in the day by aficionados of ONA 1.0 – there were (i) real-life Insight Roles such as neo-nazi activist, anarchist, being an assassin, a police officer or a member of the armed forces, and (ii) Grade Rituals such as Internal Adept (spending at least three months living alone in the wilderness) and The Abyss (living alone in an underground cavern for a lunar month).

Happy Gaming!

T.W.S.
2018 ev
ONA 3.0
v. 3.5

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Related:
Disclaimer
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Some Anti-O9A Propaganda Exposed

Order of Nine Angles

O9A

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Some Anti-O9A Propaganda Exposed
(pdf)


The O9A Septenary Sigil

Order of Nine Angles

O9A

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The O9A Septenary Sigil
(pdf)

Extract:

The O9A septenary sigil, unique as it is, has – since it was first made public in the 1970s – puzzled some modern Occultists.

As exoterically drawn and reproduced, as above, the seven points which touch the outer circle symbolically represent the septenary spheres, with the lines joining the spheres the connexions or pathways between them.

Yet this exoteric representation is merely a 2-dimensional rendition of some-thing which is esoterically, on one level, 3-dimensional – as in the artistic depiction below – but which on a higher esoteric level is 4-dimensional since what is symbolically represented – the seven spheres and their connexions or pathways – are fluxive, mutable, changeable, as the psyche of the initiate fluxes and mutates as they progress from one sphere to another and explore the pathways between them. They are fluxive as the pieces of the O9A Star Game are fluxive, are transformed, as they are moved within, and from, one sphere to another. For as Adepts will apprehend, the use – the ‘playing’ – of the advanced Star Game is the 4-dimensional fluxive O9A septenary sigil […]

Historically, other simpler septenary sigils exist […]

In the context of Renaissance septenary sigils, the O9A septenary sigil – in its 2-D, 3-D, and 4-D formats – is an evolved representation of the nexion that is the septenary system, and thus also a talismata to use in the type of sorcery appropriate to each format […]

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Related:
The Tree Of Wyrd And The Star Game


The Tree Of Wyrd And The Star Game

Order of Nine Angles

O9A

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The Tree Of Wyrd And The Star Game
An Overview

Herewith a useful overview of some of the renaissance alchemical, and the ancient hermetic, roots of the Order Of Nine Angles.

Renaissance Septenary Tree of Wyrd

The above is a Renaissance illustration of the septenary Tree of Wyrd, from the book Azoth Sive Aureliae Occultae Philosophorum published in 1613 CE, which illustration includes the three fundamental alchemical substances, Salt, Sulphur, Mercury, whose nine transformations form the “nine angles” of the O9A and which nine angles are represented by the pieces of the O9A’s Star Game thus:

O9A Star Game Pieces

Both of the above illustrations were included in the O9A text ἀρρενόθηλυς: Alchemical And Hermetic Antecedents Of The Seven Fold Way Of The Order Of Nine Angles. {1}

The Star Game itself is an esoteric representation of the septenary Tree of Wyrd. That is, of the nexion between the acausal and the causal and which nexion is also represented by our psyche as human beings, a complex psyche hinted at in many medieval and Renaissance alchemical texts {2} and in modern times – for example by Carl Jung, whose inspiration was Renaissance alchemical texts – represented in terms of archetypes, a collective unconscious, the anima and animus, and ‘a shadow aspect’. {3}

The septenary Tree of Wyrd also represents the anados (ἄνοδος), the hermetic journey or alchemical/occult quest up through the seven spheres, anciently described in the Poemandres tractate of the Corpus Hermeticum {4} and described in more recent times by the Seven Fold Way of the Order of Nine Angles {5}.

Which overview reveals that the Occult tradition of the O9A is independent of, different from, and an alternative to the Qabala based tradition used by the majority of modern Occultists. {6}

R. Parker
2018 ev

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{1} The ἀρρενόθηλυς text is included in the compilation available from The Esoteric Hermeticism Of The Order Of Nine Angles.

Refer also to O9A Texts 2018.

{2} See, for example, (i) Theatrum Chemicum Britannicum, published in 1652 CE, (ii) Theatrum Chemicum Praecipuos Selectorum, published in 1550 CE, and (iii) De Alchimia Opuscula Complura Veterum Philosophorum, published in 1613 CE.

{3} Regarding the Star Game, see https://omega9alpha.wordpress.com/the-star-game/

{4} See Myatt’s translation of and commentary on the Poemandres tractate, available from Corpus Hermeticum: Eight Tractates.

{5} Regarding the O9A Seven Fold Way, refer to the ἀρρενόθηλυς text, such as the chapters titled Perusing The Seven Fold Way, and Alchemy And The Sinisterly-Numinous Tradition.

A recent overview of the Way is available at A Modern Practical Guide To The O9A Seven Fold Way.

{6} For further details, refer to O9A texts such as (i) the aforementioned The Esoteric Hermeticism Of The Order Of Nine Angles, (ii) Some Anti-O9A Propaganda Exposed (pdf), and (iii) https://omega9alpha.wordpress.com/2015/04/01/hermetic-origins-of-the-order-of-nine-angles/

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Related:
The O9A Septenary Sigil


O9A: The Dark Art Of Shrenching

Order of Nine Angles

O9A

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O9A: 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