Order Of Nine Angles

Some recent criticism (via the internet) of the O9A Deofel Quartet has been both amusing and expected. Why? Because almost without exception the critics have failed to understand or take into account the raison d’etre of the Deofel Quartet.

#1. As noted in the introduction to the stories:
{quote} The Deofel Quartet was designed as Instructional Texts for novices beginning the quest along the Left Hand Path according to the traditions of the ONA. As such, they are not – and were not intended to be – great, or even good, works of literature. Their intent was to inform novices – new Initiates – of certain esoteric matters in an entertaining and interesting way. {/quote}

The points – the sinister “angles” here – being: “designed for novices beginning the quest… not intended to be great, or even good, works of literature… the intent was to inform novices.”

In addition, another “angle” – in respect of having the works circulated outside the O9A – was to maybe cause a few individuals to be curious about or study the O9A tradition. Which “angle” – which marketing ploy – has proved quite successful over the decades.

#2. As described in the text ‘Esoteric Aural Tradition In The Deofel Quartet’,

{quote} The Deofel Quartet and other O9A AL-written fiction (such as Hangster’s Gate), present much of the diverse aural traditions as AL 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. {/quote}

The points being: they “present much of the diverse aural traditions as AL received them: as stories about people, their interactions…reworked the factual material… obscuring the identities of those involved and sometimes their place of residence or work…”

They are thus fictionalized accounts about real events involving real people, with various members of the ONA OG knowing the identities of the people behind the main characters, such as the academic Mickleman.

#3. As noted in the introduction to the stories,

{quote} They can and should be surpassed by those possessing the abilities. If they have the effect of inspiring some Initiates of the Darker Path to creativity, to surpass them and create something better, then one of their many functions will have been achieved.” {/quote}

Thus one might ask such critics: where are their works of occult fiction – which are better than the Deofel Quartet – with interesting (if entirely fictional) characters and interesting (if entirely fictional) plots? Where are their fictionalized accounts of those people historically involved with whatever occult tradition they follow or have been inspired by?

Conclusion

The criticism is however beneficial to the O9A since (i) it encourages some individuals to actually read the Deofel Quartet, and (ii) it reveals – at least for those who do or who have understood the raison d’etre of the Deofel Quartet – the obvious flaws in the criticism and in the critics, which is the failure by such critics to understand or to intuit the quite simple sinister purpose of such simple fiction: merely a beginning of O9A interest for some, and a mere stepping stone for some others who ascending via the ONA anados soon leave such noviciate things far behind.

T.W.S.
128yf

This polemic is now included in version 1.03 of the text The Sinisterly-Numinous Aesthetic (pdf)


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