Hardcover. By Thomas Karlsson. Manus Sinistra.

This book contains the first three years of the internal initiatory system of Dragon Rouge, one of the most influential esoteric orders of the Left-Hand Path in the last quarter century.

Each of these levels corresponds to a stage of training that spans approximately one year of structured magical practice. Lilith, Gamaliel, and Samael are linked to specific regions of the Tree of Death (Qliphoth) and propose distinct approaches of work: physical, astral, and existential.

• Lilith focuses on the earthly, the will, and access to the dream world.
• Gamaliel delves into the astral plane, sexual magic, dark archetypes, and lunar cycles.
• Samael introduces processes of rupture, confrontation, and inner alchemy.

Each course consists of six doctrinal letters with both monthly and weekly exercises. The material includes practices such as meditation, rituals, the awakening of the energy body, dreamwork, invocations, concentration techniques, and more.

This work is intended for those who seek a serious path within the Left-Hand Path tradition, under the tutelage of the Dragon.

An Autobiography by Freya Aswynn

Hardback edition. Hand-signed by Freya Aswynn

Walking with Wodan is the unflinching autobiographical testament of Freya Aswynn, one of the most influential and controversial figures in modern Northern Tradition and runic spirituality. Part life history, part initiatory record, this book traces a journey forged through extreme adversity, institutional neglect, occult awakening, and lifelong devotion to Wodan/Odin as a living spiritual force.

From a brutal childhood in post-war Europe and years spent in state care, through early encounters with magic, witchcraft, and esoteric orders, to her central role in the revival of Germanic paganism in Britain, Aswynn recounts her life with uncompromising honesty. The narrative weaves together personal trauma, political realities, occult practice, and spiritual insight, offering a rare inside view of the people, movements, and conflicts that shaped contemporary heathen and magical traditions.

This is not a sentimental memoir, nor a sanitized spiritual autobiography. Walking with Wodan is a record of wyrd in motion: of names claimed and discarded, of gods who demand everything, and of a life lived in conscious alignment with fate, will, and oath. Essential reading for serious students of Northern Tradition, occult history, and the lived reality behind modern paganism.

Foreword by Edred Thorsson:

Freya Aswynn began corresponding with me even before she was known to the world by that name. Throughout the 1970s there were embryonic developments in the rebirth of the runes in the English-speaking realms. These organisms were of two kinds: the traditional and the wildly speculative. It can be said that the traditional approach can over-do the rules and regulations of things, while the speculative can sink into meaningless idiosyncratism. But on the other hand the traditions do provide objective anchors in a world of rudderless journeys, while speculations can liberate the essential component of intuition. Intuition based on tradition shows the surest path. Indeed, Freya represents an intuitive approach to the runes in some regards, but it must also be said that she possesses the inborn wisdom to make use of the actual traditions — the lore — which was ages ago laid down by our ancestors and predecessors in the tradition.

In the realm of the esoteric and magic(k), individuals who have been gifted (or cursed) with intense vision often find themselves in what appears to the competition with others, which inevitably leads to some sort of conflict. In the course of this book the reader will find references to this sort of thing between myself and Freya. It should be noted, as she points out that I did my best to help others to make their way in the world of writing and publishing. I am a firm believer in that old saying that “a rising tide floats all boats.” When seekers’ hearts are resolutely dedicated to higher principles they always — should they be gifted with long enough lives — find happy resolutions to these apparent conflicts. In the case of Freya Aswynn, we are both firmly dedicated to the higher principles both sought and taught by the one we affectionately and respectfully refer to as the Old Man— our All-Father.

In this book the reader will discover the path of one such seeker who has left her imprint on the world.

 Edred Thorsson

Alchemy Rising: The White Book by Heliophilus. (Aula Lucis)

The second and latest instalment to the Alchemy Rising series by the contemporary English alchemist Heliophilus is dedicated to the Art of Water and the mystery of the alchemical menstruums. Within its lavishly illustrated pages, Heliophilus takes us on an alchemical quest that follows the Sacred Fountain of the alchemists, through the great monarchical tributaries of Nature nurtured and nourished by the very streams and rivers that flow through the mineral, vegetable and animal kingdoms. From these kingdoms the alchemists drew their liquors, menstruums, spirits and lixiviums, and by doing so were able to calcine, precipitate, dissolve and sublime their subjects; reduce them to their first matter; and separate their philosophical principles.

In The White Book, we are invited to join Heliophilus on his alchemical quest which begins with the consideration of various mother-waters of the alchemists. Guided by the light of his experience, we will gather them from the heavens and the oceans in which they fall. Our investigation into these essential waters will follow their courses from the rivers of the vine into the living tributaries of the animal, vegetable and mineral kingdoms, until finally we will search for the secret spring deep within the mountains. We will prepare our menstruums from the great monarchies of Nature, and from these very kingdoms we will distill their spirits, resolve their lixivia, decoct their oils and lay the foundation for that most potent of all alchemical dissolvents: the mysterious Alkahest of Paracelsus and the Philosophical Mercury of the Sages.

“Burn it in Water and wash it with Fire,” the old Adepts were wont to say; but this must be done homogeneously, for fear of destroying or contaminating the very principles we wish to extract. Following in the footsteps of Heliophilus, using our menstruums we will ‘calcinate’ our subjects, and in so doing open them up—be they gemstones, minerals or metals, for by means of these fiery waters we can extract their essentials and thereby alchemically rejoin what we have divided. We will grip the Hand of the Philosophers and prepare each finger according to the tenets of the Art, and in these our mineral gardens we will prepare the seasoning to cook our mercurial fish.

The White Book is divided into two parts: Theorica and Practica. The first is an introduction into the alchemical mystery of the Goddess and the concepts of transmutation, with a gathering of the Philosophers whose arcane ideas and mytho-hermetic symbolism are carefully laid out and considered before Heliophilus proceeds on to the practice. Practica is divided firstly into an archetypal discussion on ‘Moonshine’ and the exhalation of the stars, following which the work is separated further into the Vegetable, Animal and Mineral chapters. Under the Vegetable work Heliophilus discusses Acetum and the means of preparing one of the most versatile vegetable menstruums of the alchemists. This is followed by Tartar and the discussion of the importance and preparation of its spirit, its salts and the lesser Circulatum of Urbigerus.

The Animal work includes a detailed inquiry into Urine and the means of extracting a spirit from Oyster shells, whilst the Mineral work itself is separated into five fingers, which constitute the aforementioned Hand of the Philosophers according to which Heliophilus demonstrates the preparation of each of the alchemical salts, namely Nitre, Sal Ammoniac, Salt, Vitriol and Alum, in keeping with the dictates of the Art. The final investigation in The White Book is titled ‘Mercurius Trismigestus’: the Thrice Great Mercury, a work of three parts which shall be concluded in the future in the final instalment of the Alchemy Rising series, The Red Book, and which Heliophilus initiates with a theoretical and practical inquiry into the Prima Materia of the Philosophers, the spirit wine of Lully and the elusive Sericon of the Sages.

Alchemy Rising: The White Book is an essential manual for all aspiring alchemists, providing some of the indispensable keys necessary to unlock the riddles of the Philosophers, and sounding the deep waters of the Royal Art with clarity, sincerity and true passion.

• Limited to 1000 hand-numbered copies.

• Trim size 246 × 189 mm.

• 304 pages.

• Handbound in full white bonded leather.

• Stamped with blue holographic foil on front cover and spine, with alchemical symbols of water and fire blind debossed on both sides.

• Lavishly illustrated throughout with full colour photographs.

• Text set in Neacademia.

• Printed in full colour on Matt Art FSC-certified 150 gsm paper.

• Featuring textured colour endpapers, head & tail band and silk ribbon.

Hardcover. By C.J.S. Thompson

Foreword by  Corinne Boyer

Few plants in the history of botany have inspired as much fascination, fear, and supernatural speculation as the mandrake. In The Mystic Mandrake, C. J. S. Thompson guides the reader through one of the most comprehensive interdisciplinary explorations of this enigmatic plant, at the crossroads of plant lore, medicine, folklore, and occult traditions.

From the earliest civilizations of the Near East to the botanical knowledge of ancient Greece and the folklore of medieval Europe, the mandrake remains one of the most emblematic and enduring witch plants. Revered as a love charm, root fetish, magical talisman, and the Devil’s ally, its human-shaped root and potent psychoactive properties gave rise to some of the most enduring legends in the history of natural magic. The belief that the plant screamed when uprooted, that it could confer fertility or wealth, or that it harboured a spirit within its roots reveals a deep relationship between nature, animistic belief and mythopoetic expressions of the natural world.

Drawing on ancient texts, medieval herbals, spiritual traditions, and early scientific observations, C. J. S. Thompson reconstructs more than three millennia of mandrake lore. At once scholarly and evocative, The Mystic Mandrake is an essential work for anyone interested in the practice of magic, the symbolic language of plants, and the enduring human quest to uncover the secret powers of nature.

The book is introduced with a foreword by Corinne Boyer, folk herbalist, teacher, and author of several books on plant lore and history.

196 pages - featuring 18 illustrations in colour.

Abraxas Publishing is proud to announce the release of its first full English language publication, the facsimile edition of Aleister Crowley’s “Tannhäuser – A Story of All Time”. 

Crowley finished "Tannhäuser" in Kandy, Ceylon in the beginning of 1900s during a period when he and his mentor Allan Bennet were in middle of intense yogic practices. The book is Crowley’s take on the 13th century legend of Minnesinger Tannhäuser. In Crowley’s dramatic version, which he referred as “The History of the Soul”, the traveling Rosicrucian poet journeys in the world of gods, men and demons in search of truth and harmony. Through Tannhäuser's reflections the book explores complex themes, such as the clash between earthly passions and spiritual aspirations, foreshadowing the conflicts and transformations Tannhäuser experiences throughout the story. The drama reflects Crowley's fascination with mysticism and the interplay of earthly desire and divine inspiration. Tho overlooked at its time, Crowley’s Tannhäuser play grew later into a seminal text in Thelema and in O.T.O.

Crowley’s gives the keys for deciphering the text in his preface written in Kandy in 1901 where he connects the drama’s scheme with John Bunyan’s “The Pilgrim's Progress” (1678). Crowley advices the reader to observe Tannhäuser as the only “real” character of the play and other characters just merely reflections of the traveling poet’s own consciousness.

The publications is a facsimile reprint of the second edition published through Crowley’s own publishing house Society for the Propagation of Religious Truth aka S.P.R.T. in 1907. In the “new” edition Crowley used mainly unbound pages left over from the original 1902 Kegan Paul, Trench, Trübner & Co.’s publication. Crowley’s disappointment with Kegan Paul's management of his book sales spurred him to distribute his own works via S.P.R.T.

The facsimile edition is published in large format hardback edition of 222 hand-numbered copies. Front and back cover and spine stamped with gilt. Binding: sewn. Endpapers: Malmero Abysse. Headband: Iranian turquoise. The book comes with a limited edition “Crowley in Ceylon” -bookmark.

A New Light of Alchemy by Michael Sendivogius

• Classic Edition limited to 700 hand-numbered copies.

• Trim size 180 x 120mm.

• 272 pages.

• Handbound in amber-coloured reconstituted leather, stamped in gold.

• Including fourteen duotone illustrations.

• Text set in Neacademia.

• Printed in duotone on Munken Pure Rough 100 gsm paper.

• Featuring terracotta-coloured endpapers, and tuscan-orange head & tail bands and silk ribbon.

• Presented with an orange letterpress bookmark, stamped in gold.

Fifth volume in the Mysterium Hermeticum series.

Among the numerous early modern books on alchemy none was more popular and influential than Novum Lumen Chymicum, or A New Light of Alchemy by Michael Sendivogius. Consisting of four tracts, published anonymously between 1604 and 1616, it presents one of the most coherent systems of alchemical philosophy ever written, enchanting with its explanatory power and vivid description of the workings of Nature. Its impact was such that it gave rise to an entirely new ‘school’ of alchemy, centred around the Salt-Nitre theory, inspiring generations of Chymists to embark on their own quest for the “Water that wets not the hands.”

No fewer than 60 editions of Novum Lumen Chymicum appeared in print before 1800, far outnumbering all other alchemical works published before or since. It was the only text recommended and admired by all three 17th-century authors presented in the Mysterium Hermeticum series thus far: Jean d‘Espagnet, Arthur Dee, and Thomas Vaughan. It is only apposite therefore to include it as the fifth and largest instalment in our ongoing investigation of the Hermetic mysteries. The author of that key work of alchemical literature was born in Cracow, then the capital of the Kingdom of Poland, on 2 February 1566. He was known in Poland as Michał Sędziwój, but remembered in posterity under the Latin version of his name—Michael Sendivogius, one of the greatest and most mysterious adepts of the 17th century.

The unparalleled success and influence of the Polish alchemist’s literary legacy were due to several factors. Perhaps the most important was that his contemporaries regarded Sendivogius as a true possessor of the Philosophers’ Stone, as testified by Oswald Croll, Andreas Libavius, Michael Maier, and others. The latter enshrined him on the cover of his influential Symbola aureæ mensæ (1617) as the last of the twelve greatest alchemical adepts, counting from Hermes. The English translator of A New Light of Alchemy, John French, eulogised him in the same vein. But who was this mysterious adept, who concealed his identity under two ingenious anagrams, and performed one of the best-documented transmutations of the 17th century, in front of Emperor Rudolf II himself?

“If you ask who I am, I am a Cosmopolite; if you know me and desire to show yourselves good and honest men, you shall hold your tongue; if you know me not, do not enquire after me, for I will reveal to no mortal man, whilst I live, more than I have done in this public writing.” For more than three centuries, the authorship of Novum Lumen Chymicum had been wrongly attributed to a Scottish alchemist, Alexander Seton. The misattribution was so pervasive that until recently, modern historiography of alchemy misrepresented the importance of Sendivogius and relied on false accounts of his life. In his magisterial 40-page Introduction, culminating over four decades of meticulous research and seeking to redress the historiographical errors of the past, Dr Rafał T. Prinke—a scholar of esotericism and the leading authority on Sendivogius—traces the origin and evolution of the “black legend,” proving unequivocally that the author of Novum Lumen Chymicum was none other than the Polish alchemist himself.

In addition to the four tracts comprising the volume—these being Twelve Treatises on the Philosopher’s Stone, The Parable or Philosophical Riddle, The Dialogue with Mercury, and A Treatise on Sulphur—two more tracts are appended to the present edition. The first is the English translation of Operatie Elixiris Philosophici, originally written in Polish and Latin, most likely by the young Sendivogius. The text is important not only because it is the earliest known alchemical work in the Polish language, but especially for its unique form of a critical report from laboratory experiments in search of the Philosophical Elixir. The second Appendix is the first English translation of the famous Processus Universalis, in the expanded 1682 redaction of Johann Joachim Becher, entitled “The Process of Michael Sendivogius upon the Center of the Universe, or Central Salt.” It contains detailed instructions for carrying out the laboratory procedure in preparation of the Universal Menstruum and the Philosophers’ Stone. It appears plausible that it was based on notes made by witnesses of the operation performed by Sendivogius in Prague, and we rejoice in the opportunity to present it to the Reader in English for the very first time.

by Ekortu

Hardcover book, black cover stamped with golden Utgarða-Heiðr rune, black endpapers. Fully illustrated, 371 pages including a fold-out map of Heldrasill, the underworld. Third printing of 600 copies. Ixaxaar

She is known as the black underworldly crone and giantess of the black anti-cosmic runes and magic, who comes at midnight up from under the ground and walks between houses to visit the practitioners of the black arts (or fjölkunnigr, as they were called), to teach them about the black runes and anti-cosmic magic. She is known as first wife, or mistress of Loki. Her names are many, amongst which the most well-known ones are Gullveig, Heiðr, Aurboða, Angrboða and Hyrrokin. She was looked upon as an evil woman, "illr kona", and the mother of all trolls, "flagð", troll being the Old Norse term for malignant and bestial demons, viewed upon as a thurs-kin, which are often dwellers of the forests, mountains and the underworld.

The book explores Gullveig through Old Norse mythology, sagas, Witchcraft & Poetry, which also includes descriptions of related giants and underworldly locations connected to her, such as: Loki, Jørmungandr, Fenrir, Hel; Jøtunheimr, Helheimr, Niflheimr, and much more.

The Gullveigarbók gives the student a wide overview, explaining the darker side of Norse mythology as a whole, making it an important work for readers searching for knowledge concerning this before seldom explored aspect of Northern Spirituality.

The latter part of the Gullveigarbók book is called Fjølkyngi, witchcraft, and holds the esoteric aspects and praxis of the author's own witchcraft as connected to the Thursatru Tradition - Þursatrú siðr - and divulges aspects of the author's magical Gullveig workings. This part of the book also introduces students to how the Gullveig sigils, or bindrunes are to be employed.

Regular edition: Hardcover book, black cover stamped with golden Utgarða-Heiðr rune, black endpapers. Fully illustrated, 371 pages including a fold-out map of Heldrasill, the underworld. Third printing of 600 copies.

The Magical Life of Marjorie Cameron by Spencer Kansa. Paperback edition

In the first-ever biography written about her, Wormwood Star traces the extraordinary life of the enigmatic artist Marjorie Cameron, one of the most fascinating figures to emerge from the American underground art world and film scene.

Born in Belle Plaine, Iowa, in 1922, Cameron’s uniqueness and talent as a natural-born artist were evident to many of those around her early on in life. During World War II, she served in the WAVES (Women Accepted for Volunteer Emergency Service) and worked in Washington, D.C. as an aide to the Joint Chiefs of Staff and at the Naval Research Laboratory. But it was after the war that her life really took off when she met her first husband, Jack Parsons. By day, Parsons was a brilliant rocket scientist. By night, he was Master of the Agape Lodge, a fraternal magickal order whose head was the most famous magus of the 20th century… Aleister Crowley.

Gradually, through the course of their marriage, Parsons initiated Cameron into the occult sciences, and the biography offers a fresh perspective on her role in the infamous Babalon Working Enochian rituals Parsons conducted with the future founder of Scientology, L Ron Hubbard. Following Parsons’ death in 1952 from a chemical explosion, Cameron inherited her husband’s magickal mantle and embarked on a lifelong spiritual quest, a journey reflected in the otherworldly images she depicted, many drawn from the Elemental Kingdom and astral plane.

Throughout the 1950s and 1960s, Cameron became a celebrated personality in California’s underground art world and film scene. In 1954, she starred in Kenneth Anger’s visual masterwork Inauguration of the Pleasure Dome, stealing the show from her co-star Anais Nin. The director Curtis Harrington was so taken with Cameron he made a film study dedicated to her artwork entitled The Wormwood Star. He then brought her powerful and mysterious presence to bear on his evocative noir thriller Night Tide, casting her alongside a young Dennis Hopper.

Cameron was an inspirational figure to the many artists and poets who congregated around Wallace Berman’s Semina scene and, in 1957, the authorities shut down a group show held at the Ferus Gallery due to the sexually charged nature of one of her drawings. Undaunted, she continued to carve a unique and brilliant path, although wider recognition only came in the latter part of her life.

A retrospective of Cameron’s work, The Pearl of Reprisal, was held at L.A.’s Barnsdall Art Park in 1989, and following her death, some of her most admired pieces were featured in the Reflections of a New Aeon Exhibition at the Eleven Seven Gallery in Long Beach, California. Cameron’s famous Peyote Vision line drawing made its way into the Beat Culture and the New America retrospective held at the Whitney Museum in 1995; and, in 2006, selections of her work were included in the touring Semina Culture: Wallace Berman & His Circle show. The following year a survey dedicated exclusively to her own work was held at the Nicole Klagsbrun Gallery in New York.

With so much of her life and artistry shrouded in mystery, Wormwood Star sheds new light on this most remarkable artist and elusive occult icon.