Vampires, werewolves, zombies, demons--they're simply figments of our imagination, right? After all, their existence has never been scientifically proven. But there is one giant problem with such an easy dismissal of these creepy creatures: people keep encountering them.Join occult scholar John Michael Greer for a harrowing journey into the reality of the impossible. Combining folklore, Western magical philosophy, and actual field experience, Monsters: An Investigator's Guide to Magical Beings is required reading for both active and armchair monster hunters. Between these covers you'll find a chilling collection of fiendish facts and folklore, including:Why true vampires are the least attractive--and most destructive--of all monsters The five different kinds of ghosts Magical origins of the werewolf legends How to survive a chimera encounter (Jersey Devil, chupacabra, Mothman) The hidden connections between faery lore and UFOs Where dragons are found today How to investigate a monster sighting Natural and ritual magic techniques for dealing with hostile monsters This 10th anniversary edition of the quintessential guide to magical beings features a new preface, new chapters on chimeras and zombies, and updates on werewolves, dragons, and the fae.

    David Levi Strauss writes in his essay: "The constitutive facts of Francesca Woodman's life are by now well known. We know that she was born in 1958, that she began taking photographs seriously at age thirteen or fourteen and continued this involvement into her twenty-second year, building up, in this brief time, a remarkably coherent and affecting body of work. And we know that on January 19, 1981, just two and a half months before her twenty-third birthday, she took her own life, leaping from a window on the Lower East Side in Manhattan to her death". This volume, containing many unpublished images, finally allows us to discover the full body of work of this artist, created in Rhode Island, Rome, New York, MacDowell Colony, New Hampshire: self-portraits, mise-en-scenes, nudes, and deeply emotional collage-like images. They all show her intense relation with the camera and her own self, long before this kind of picture-making became fashionable.

    In this translation, the author discusses books of the black art, old gods, daemons of hell, runes and magical signs, theory and practice of magic.

    This wonderful and witchy book is filled with a wide variety of spells, enchantments, and recipes that will improve the life you share with them. From finding and naming a new cat to working with a feline as a familiar, The Little Book of Cat Magic has something for everyone who loves cats and magic.Learn about cats throughout history as well as the myths, folklore, and deities associated with them. Explore spells for living with cats, improving their health, and saying goodbye when their nine lives have run their course. You'll also enjoy crafts and divination techniques involving cats as well as paw-some advice from Deborah Blake's extraordinary familiar, Magic the Cat.

    Who hates Undoing? Stuffed-shirt academicians, do-nothing sweetness-and-light practitioners of cosmic foo-foo, and would-be slave-owners everywhere. On the other hand, if you are interested in actually accomplishing something, you will love it.

    Just as Russ Kick's Guides focusing on secrets and lies from the mainstream media, government, and other establishment institutions rethought what a political science book could look like and whom it would appeal to, Book of Lies redefines occult anthologies, packaging and presenting a huge array of magical essays for a pop culture audience. Just some of the contents:An introduction by comics genius Grant Morrison, who also contributes a threepart article on Pop Magick.Mark Pesce, author of The Playful World, compares computer programming and spellcasting.Genesis POrridge, father of Industrial Music and Rave culture explains how samples in a rave song can have magical consequences.Paul Laffoley discusses his magical artistic strategies (Metzger compares Laffoley to Merlin the Magician).Magical Thinking--an extended excerpt from Daniel Pinchbeck's Breaking Open the Head.William Burroughs and the occult.Nevill Drury, Australia's most noted occult writer, tells of Dion Fortune, Austin Spare, and Rosaleen Norton.Why Does Aleister Crowley Still Matter?Donald Tyson's "The Enochian Apocalypse Working." Were the seeds of the end of the world sown in the Elizabethan era?.The first ever biographical essay on Marjorie Cameron, the fascinating character from Los Angeles' occult and beatnik scene.Hitler and the occult--Peter Levenda interview by Tracy Twyman.Robert Temple on how his book The Sirius Mystery's, controversial thesis (for which he was ridiculed) was proven by the Hubble telescope twentyfive years late.An exclusive Anton LaVey interview by Michael Moynihan, author of bestselling book Lords of Chaos.Erik Davis, author of Techgnosis, looks at H. P. Lovecraft's Magick Realism.

    Using the seemingly commonplace materials that he collected in five-and-dime stores and other shops in New York City - cordial glasses, mirrors, marbles, and maps among them - along with clippings from books and magazines, childhood games, and Victorian illustrations, Cornell beckons us into a world at once distantly magical and tantalizingly, nostalgically "home."" Diane Waldman first met Cornell in 1963, when she was writing her master of fine arts' thesis on the subject of his art, and their friendship continued until his death. Over the years, Waldman has written often about Cornell, adding to the analysis of his art her own personal knowledge gained from interviews with the artist and his family as well as Cornell's letters and papers. In this volume she probes Cornell's elusive imagery in his earliest Surrealist-inspired collages of the 1930s, his masterful box constructions of the 1940s and 1950s, his experimental films, and his final collages in his last years.

    Until recently historians often dismissed these descriptions as elaborate fictions created by judicial interrogators eager to find evidence of stereotypical pacts with the Devil. Although this paradigm is now routinely questioned, and most historians acknowledge that there was a folkloric component to familiar lore in the period, these beliefs and the experiences reportedly associated with them, remain substantially unexamined. Cunning-Folk and Familiar Spirits examines the folkloric roots of familiar lore from historical, anthropological and comparative religious perspectives. It argues that beliefs about witches' familiars were rooted in beliefs surrounding the use of fairy familiars by beneficent magical practitioners or 'cunning folk', and corroborates this through a comparative analysis of familiar beliefs found in traditional native American and Siberian shamanism. The author explores the experiential dimension of familiar lore by drawing parallels between early modern familiar encounters and visionary mysticism as it appears in both tribal shamanism and medieval European contemplative traditions. These perspectives challenge the reductionist view of popular magic in early modern British often presented by historians.

    Along the way Young riffs on Basquiat's paintings and sayings, on the music he loved, on the artists he ran with (Andy Warhol and Keith Haring, among them), and on the black heroes (Charlie Parker, Muhammad Ali, Billie Holiday) who inspired him.Young's poetic channeling of Basquiat--a jostling, poignant brand of downtownspeak--makes for an urban epic in the tradition of Langston Hughes's "A Dream Deferred." To Repel Ghosts, along with Young's Jelly Roll: A Blues and Black Maria, his recent book of film noir verse, forms an American trilogy--Devil's Music--that explores other art forms through poetry. In its creation, Yound has become a poet whose work speaks both for and beyond his genre, with a music all its own.

    Ostensibly concerned with turning base metals into gold, alchemy was in fact dedicated to transforming the lead of self into the gold of spirit. This brilliant history of alchemy traces its sources back to ancient Egypt, and presents alchemy as a useful, practical system of self-transformation. Each of the seven steps of alchemical transformation is explained, with hands-on techniques and exercises, treating alchemy as a living discipline for achieving a spiritual awakening.

    During her increasingly long lunch breaks, she began to obsessively read the PennySaver, the iconic classifieds booklet that reached everywhere and seemed to come from nowhere. Who was the person selling the “Large leather Jacket, $10”? It seemed important to find out—or at least it was a great distraction from the screenplay.Accompanied by photographer Brigitte Sire, July crisscrossed Los Angeles to meet a random selection of PennySaver sellers, glimpsing thirteen surprisingly moving and profoundly specific realities, along the way shaping her film, and herself, in unexpected ways.Elegantly blending narrative, interviews, and photographs with July’s off-kilter honesty and deadpan humor, this is a story of procrastination and inspiration, isolation and connection, and grabbing hold of the invisible world.

    Rendered into English in the late 1800s, it speaks of demons, their composition, their mannerisms, and relates numerous tales of copulation with the same. Perhaps one of the strangest works of Demonology, this work claims that it is possible for demons to father literal offspring with humans through the use of a corpse as a vehicle, and although it is a technically Catholic work, Sinistrari even makes the claim that incubi are, in some ways, perhaps superior even to man.

    All we need is the ability to see it, understand it, and apply it. Magic works because of nature's laws, not in spite of them, and Valiente shows how to practice the age-old white magic which has been familiar to the Wise Ones for centuries.

    His early work clearly shows the influence of Fauvism and Cubism. The Catalan landscape also shapes the themes and treatment of these initial works. In his travels, Miro encountered the intellectual avant-garde of his time. His friends included Francis Picabia, Tristan Tzara, Andre Masson, Jean Arp and Pablo Picasso. From the mid-twenties onward, Miro strove to leave direct objective references behind and developed the pictograms that typify his style. The pictures of this period, which include perhaps the most beautiful and significant ones of his whole oeuvre, dispense with spatiality and an unambiguous reference to objects. From now on, the surfaces are defined by numerals, writing, abstract emblems, and playful figures and creatures. Nineteen forty four saw the beginning of his extensive graphic oeuvre, ceramics, monumental mural works, and sculptures. In these works, too, the Catalan artist sought the solid foundation of a figurative, symbolic art with orientation as regards content: faces, stars, moons, rudimentary animal forms, letters. Joan Miro developed in several stages his characteristic flowing calligraphic style and his world of forms resembling shorthand symbols. About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    Driven to it by colleagues, friends and students, writing this little book is an act of stubborn devotion to a fading culture. This deceptively simple system of folk magic has come down to modern Southern culture through the immigrants and natives who called these blue hills home. Written in an easily accessible style and filled with insights and stories, Staubs and Ditchwater: a Friendly and Useful Introduction to Hillfolks Hoodoo is part memoir, part workbook.