![]() ![]() Lovecraft, Jack Parsons, Austin Osman Spare, and Charles Stansfeld Jones (“Frater Achad”), Grant formulated a system of magic that expanded upon that delineated in the rituals of the OTO: a system that included elements of Tantra, of Voudon, and in particular that of the Schlangekraft recension of the Necronomicon, all woven together in a dark tapestry of power and illumination. Using complementary texts from such disparate authors as H.P. One of the most famous-yet least understood-manifestations of Thelemic thought has been the works of Kenneth Grant, the British occultist and one-time intimate of Aleister Crowley, who discovered a hidden world within the primary source materials of Crowley’s Aeon of Horus. Lovecraft, Kenneth Grant, and the Typhonian Tradition in Magic Conspiracy Theories/Unexplained Mysteries.By employing an old literary device, which he had certainly recognised as being used by previous occultists of the nineteenth and twentieth century, and enhancing it by using novel themes such as the Lovecraft mythos and extraterrestrial entities, Grant has succeeded in creating a vibrant mélange, where, once again, the lines between fiction an reality are constantly being negotiated. Through these examples, a general theory of Grant’s employment of instances of fiction and practiced magic, to constantly keep the reader in a liminal state of consciousness, is attempted, with particular attention devoted to the British occultist’s use of ufology as a novel instrument to achieve his aims. After a brief introduction to Grant’s occult system, Giudice draws examples of the blurring of the lines between fiction and practice from Grant’s Trilogies, focusing on the text richest in examples of such experiments in fiction: Hecate’s Fountain. A firm believer of inducing a magically receptive state in the reader through a Rimbaldian ‘systematic derangement of the senses’, Grant’s works offer a dazzling fusion of Lovecraftian nightmares, Crowleyan tantric techniques, extraterrestrial influences and Rohmerian drug fuelled rituals, if we were to analyse only the most immediate of the British occultist’s influences. This chapter situates occultist and author Kenneth Grant and his peculiar blend of fictional occultism, represented by his Typhonian Trilogies (1972-2002), as one of the most recent practitioners, chronologically speaking, to blur the lines between literary fiction and magical practice. ![]()
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