(H)AURORAE

Regular price $63.00

Tax included.

by Gabriel McCaughry

(review from scriptus)

"(h)Auroræ has an air of being McCaughry’s magnum opus, the sum result, from an aesthetic perspective, of all that he has done previously with his Anathema Publishing imprint. It’s gorgeously presented, intricately designed, with a poetic quality that is enigmatic and just a little bit impenetrable. At 304 pages and 5.25 x 8.5 inches dimensions, it feels substantial and weighty, the right size, texture and weight to convey a sense of significance and substance, fitting in your hands like a treasured tome, without being cumbersome. This aligns with statements McCaughry has made elsewhere, where he has talked of the magick inherent in books, and the profundity inherent in writing, producing and reading them.

(h)Auroræ is divided into three main sections or books, the first of which reprises the (h)Aurorætitle and is itself comprised of five codices; plus a long, circumlocutory introduction from Shani Oates. Each codex consists of short stanzas of poetry, formatted in a fairly large italic face and almost always accompanied with an illustration on the respective facing page. McCaughry’s style of verse is, one could charitably say, brisk, sometimes running to as little as four lines, with an economy of words that nevertheless draws from a clearly defined lexicon. He declaims, rather than rhymes, using archaic turns of phrase and employing a wide array of imagery that references a variety of mythological and magickal sources, including Luciferianism, tantra, alchemy, theRuba’iyat and Mandaeism. This cornucopia of culture and its recherché language choices makes for a somewhat abstruse encounter, where you can get a sense of what is being said, but like alchemical texts of old, you’re never sure if you’re quite getting it all.

Book two of (h)Auroræ is titled Neoteric Heterodoxy and, for the most part, eschews the poetry format of its predecessor for a more discursive approach. Here, divided into three sections, McCaughry discusses various aspects of magickal theory and growth, with considerations of Gnosticism, doubt and truth, as well as the various forces, constructs and entities in his conception of a magickal cosmology: Lucifer, the Temple of LUh-hUR, the UmbraPlasma, the Monolith, the Quartz of Return, the Omni-Cipher, the Demiurge and the PCR or Prism Concrete Reality.

The third and final book of (h)Auroræ is called Anaphoras, Advent & Theurgia, and feels very much the conclusion, incorporating as it does various miscellanea and appendices. The lion’s share of this section takes the form of McCaughry’s account of the workings that form the basis of what is presented here, effectively his magickal diary fleshed out into a substantial narrative. He does not provide much in the way of explicit, point-by-point instructions, instead advocating for the ability of an adept to find their own tools and techniques; and emphasising the status of (h)Auroræ as a book of mysticism, rather than magick, with all the ritual rigmarole that the latter might entail. With that said, McCaughry’s magickal record is detailed enough that should one wish to emulate it, there is much to draw from.

Page spread

(h)Auroræ is profusely illustrated by José Gabriel Alegría Sabogal who almost deserves a co-author credit, such is both the impact and extent of his work. When almost every page within just the five codices of the (h)Auroræ section features an accompanying and presumably bespoke image, the amount of work is staggering; as is the cost, unless Sabogal severely undercharges for his work. There is an indefinable something about Sabogal’s illustrations, something that conveys an inherent sense of mystery and gnosis, but also somehow manages, with an apt turn of phrase, to keep silent.