Kenneth Grant
Kenneth Grant (b.1924, Essex) is the head of several important Thelemic orders and author of the influential “Typhonian Trilogies” series (1972-2002) that includes The Magical Revival, Nightside of Eden and Aleister Crowley and the Hidden God.
In 1939, Kenneth Grant chanced upon Crowley’s Magick in Theory and Practice and a few years later began a correspondence with the author (see Remembering Aleister Crowley, Skoob Books, 1991) that would lead to him joining the Ordo Templi Orientis. In 1946, he was initiated into the Argentum Astrum and was confirmed as an IX° in the O.T.O.
Shortly after Crowley’s death in 1947 Grant met David Curwen. Also member of the O.T.O. Sovereign Sanctuary, a keen alchemist and a student of tantra, Curwen initiated Grant into “a highly recondite formula of the tantric vama marg.” This experience further deepened Grant’s interest in oriental mysticism and he detailed his work with the Advaita Vedanta in a number of essays for Asian journals in the early 1950s (later published as At the Feet of the Guru, Starfire, 2006).
In 1948, Kenneth Grant’s wife Steffi (they were married in 1946) wrote to Austin Osman Spare and the couple began an eight-year friendship with the artist. The bookseller Michael Houghton had already introduced Grant to Spare’s opus, The Book of Pleasure, and Spare elucidated his theories with letters and enclosures of manuscripts, with Kenneth acting as amanuensis. In 1954, Spare and Grant co-founded the Zos Kia Cultus: not a cult in the objective sense, but a designation given to the creative nexus of personal magical experience (see Zos Speaks!, Fulgur, 1999).
In the same year Grant founded the New Isis Lodge, with the intention of providing a conduit for “the influx of cosmic energy from a transplutonic power-zone known to initiates as Nu-Isis.” The group ran until 1962 and various accounts of the experiences of the group may be found throughout the “Typhonian Trilogies”.
Coetaneous with the New Isis Lodge, Kenneth and Steffi Grant began work on the Carfax Monographs. This series of ten essays was issued between 1959 and 1963 with the explicit intention to “elucidate the hidden lore of the West according to canons preserved in various esoteric orders and movements of recent times.” It was the beginning of a unique 50 year contribution to Thelemic literature and art that spans poetry, biographical works, fact and fiction.
Copyright © Robert Ansell, 2007
http://www.fulgur.co.uk/authors/grant/
“The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things.Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us.On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena.But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind.”
“Atavistic resurgence, a primal urge towards union with the Divine by returning to the common source of all, is indicated by the backward symbolism peculiar to all Sabbath ceremonies, as also of many ideas connected with witchcraft, sorcery and magic. Whether it be the symbol of the moon presiding over nocturnal ecstasies; the words of power chanted backwards; the back-to-back dance performed in opposition to the sun's course; the devil's tail - are all instances of reversal and symbolic of Will and Desire turning within and down to subconscious regions, to the remote past, there to surprise the required atavistic energy for purposes of transformation, healing, initiation, construction or destruction.”