THE NECRONOMICON: SIMON vs. MARDUKITE — Whether actually from some insane “Arab” from the eighth century A.D., or the result of attention to scholarly transliterations available of ancient Mesopotamian tablets simply coupled with ceremonial magic, traditions alluded to in Simon’s Necronomicon are neither an indigenous form of shamanism or a folk-magic of the masses…
As has been expressed in our cycle of work regarding it, the tablets are a part of the literary collection of the ancient “Mardukite Order of Nabu” that led the religion and government in Babylon – and Egypt under a different guise.
One modern ceremonial occultist bridging the gap between Crowley’s era and the modern one, is Kenneth Grant. While some of Grant’s earlier works could only allude to connections between Crowley’s magick and specifically Lovecraftian interpretations of the Necronomicon, more recent installments of Grant’s work make citations from what he calls: the Schlangekraft recension – the Simonian Necronomicon.
The manner in which the tome is related to in Grant’s volume from the Typhonian Tradition of the Ordo Templi Orientis, titled Outer Gateways, concerning communications made by ceremonial magicians of magical lodges with the “Old Ones” or “Deep Ones” shows that he evidently took this seriously. That Kenneth Grant essentially inherited the O.T.O. organization and following of Aleister Crowley establishes that the Schlangekraft recension was far from the only means, or even remotely close to their own means of making contact with alien intelligences. But Grant knew of, acknowledged (no doubt made successful use of) and celebrated the work at length as a very real “portal to the Abyss.”
“Where the New Age is concerned, a lot of the occultism is ‘Judeo-Christian’ – the Keys of Solomon, for example; the Secret Books of Moses and all of that stuff. It was all based on a Jewish and Christian concept. With the coming of the New Age you did have a rise in neopaganism, but there was not a system of ‘ceremonial magick’ for a neo-pagan mentality; it [ceremonial magick] was, again, based on Jewish and Christian concepts, which were themselves borrowed from pagan origins, but the pagan origins were gone for the most part. In a sense the Simon Necronomicon filled a need for people with a true neopagan interest to become involved with the ‘higher magics’ so to speak.”
–Peter Levenda
Necronomicon: Anunnaki Legacy (Silver Edition)
Rather than a “Cthulhu mythos” drawn from the semantics used by H. P. Lovecraft to describe the dreams and visions he experienced and accounted for in his artistic creations, the Schlangekraft recension offers a preliminary means by which someone with no background in Mesopotamian cultures or ancient cuneiform tablets can quickly immerse themselves – thereby unlocking that personal subconscious portal into the “Other.” It is by no means complete and certainly not wholly accurate, but that is not to say it has not served its purpose in the greater scheme – in the system – just as the contributions of others, intricately interwoven, have.
“Those who cannot remember the past are condemned to repeat it. Only the dead have seen the end of war.”
–George Santayana
Sadly, it is only when manifested art and literary creations are brought out of the “shadows” that it becomes the subject of public scrutiny – in the public – in the realm of the light: where the work does not belong in the first place…
When the Simon Necronomicon was first released, a very select few were privy to this ‘type’ of understanding concerning a truly archetypal, pre-classical and pre-Christian methodology – a root system by which many other branches of the tree were later formed and perceived as separate, whether because of semantics or their locale in time and geography. Even those supposed occultists and New Agers at that point had very little background in the mythos being dealt with – which was not at all Lovecraftian, or even Sumerian as many other believe, but Babylonian!
Based on Mardukite Babylonian research, the Necronomicon paradigm is a very serious subject, well beyond the scope of Lovecraftian fantasies, that those of us who have been “blessed” to be involved in its necessary consciousness-changing return for modern times, take very seriously. Unlike many of the Necronomicon critics out there who simply scream “hoax” to anything that bares the title, the current Mardukite institution is more sympathetic toward the paradigm shift provided by the Simon contribution.
It is not Sumerian in origin as many thought and as its own editors profess. While it is true that Sumerians occupied the space geographically linked to its birth-place, but their tradition is not actually evident in the work other than what was absorbed into the later tradition that the Simon work is actually based – Babylon.
The idea that the Necronomicon tradition is “nondenominational” (as its Simonian editors relate) is also a false assertion. It is clearly laced with the Mardukite-specific spiritual politics found strongest in Babylonian traditions and literature, which are often mirrored in Egypt. Among these, of course, being the centralized veneration of MARDUK-RA as the “Lord of the Gods,” something entirely absent in the previous original Sumerian Tradition.
Following the idea presented in the Lovecraftian work more than the actual content drawn from Mesopotamia, the Necronomicon was presented as that all-too-familiar long-lost sorcerer’s “black book,” the “most dangerous and powerful” on the planet. In some ways, the hype is justified. The work was certainly monumental for its time, and even remains a cornerstone today, although its efforts have since been surpassed by the work of the Mardukite Research Organization.
Very few, even those who had studied cultural folk mythologies and other pagan pantheons revived by the “mystical movements” of the last centuries, had gained any access to or understanding of the ancient Mesopotamian methodologies that predated all the rest. This change in human consciousness was not only monumental, but intentional – an integral part of a larger picture where spiritual forces have indeed been directing the course of many events in recent past. Among these were some many profound ventures in the 1970’s that bridged the 60’s to the 80’s via visions and manifestations that some might have never conceived of prior. The music changed. The media changed. The very colors being perceived in the world changed – more real, surreal and yet wholly artificial.
A new Babylon – a new Mardukite age – was rising…
The technological age was counter-balanced with an extreme sense of “fantasy” and “spiritual occultism,” such as human civilization had not seen for a very long time. It was a necessary program to be followed to temper the rise of the electronic gods – those which have been raised to supremacy by their human creators. Feeling that the Old Gods have left them, the humans have felt this overwhelming need to raise another in its place – this time, by their own creation – or so they think. It was not until the fantasy enthusiasts and Lovecraftian Necronomicon readers started getting together with the science-fiction and Sitchin-eqsue circles in the late 1970’s that the “mainstream population” outside of the orders like the Golden Dawn or O.T.O. were given a chance to understand what was already known in the underground for thousands of years – the existence and nature of the Anunnaki!
After the rise of the Hermetic Order of the Golden Dawn in the late 1800’s (and perhaps also such groups as the Theosophical Society) the metaphysical world of the mystics would seem to begin appearing in the public spotlight, or at the very least carry an illusion of being maintained in public view…
…with this followed the widespread use of medieval grimoires – many of them somehow involved with figures like MacGregor Mathers and Aleister Crowley. Organizations relating to these individuals, such as the GD (Golden Dawn), OTO (Ordo Templi Orientis) and the lesser known AA (Argentium Astrum) begin to influence mystical practices and underground traditions among the multitudes on the surface world.
Naturally we are concerned foremost with the content of the Babylonian derived Necronomicon Anunnaki Bible of the Mardukite Chamberlains and its interconnected relationship to the Great Mysteries. However, the association of modern pseudoepigrapha (literally artificial writings) is not limited simply to a book called the “Necronomicon” – for such is just a name, as is “Al Azif” – or anything else we want to definitively give a solid form too – that which cannot be solidified – that which has not meant to be solidified…
“El Club Dumas” was released in Spain in 1993. The American English-speaking audience would have to wait three years to find “The Club Dumas” on their shelves. The literary version by Arturo Perez-Reverte became doomed to be lost amidst the mysteries of Agatha Christie and Sue Grafton and did not receive the same pop-culture attention as its motion picture under a different title.
The main character of the novel, Corso, set in a dusty environment of Antiquarian book-selling, is on a quest to uncover the truth of a lost fragment or chapter of the serial by Alexander Dumas, the famous “Three Musketeers”. In the course of events, Corso is culled into a different kind of quest… and there are surprisingly more people aware of the influence of this modern tale then you might originally suspect, for it is also known by another name – the name:
From its Spanish edition we deduce the title “Nine Doors to the Kingdom of Darkness,” though the American language version prefers “Gates” to “portals” – and thus too, the “Shadows” to the “Darkness.” American audiences are also more receptive to video media then literary and thus was probably the inclination Roman Polanski carried with him in filming “The Ninth Gate” with Johnny Depp, released in 1999. Depp’s performance is astounding as always and the woodcarved engravings that are so paramount to the film are taken directly from the illustrations found in Reverte’s novel.
It would surprise many occultists to note that the vein of pseudoepigrapha runs deep within the mystic stream – reaching all too familiar works as the “Keys of Solomon” or even the “Book of Abramelin” – it comes by no surprise that we should see the rise within this age of more tales of such “books within books” – “fantasies about fantasies” – for we have undoubtedly reached our ends in the world of Light and must by necessity reach out to the Shadows…
Assuming the lore of the Nine Gates, let us say that the work is based on yet too another book – furthering our psyche down the literary rabbit hole.
The DELOMELANICON (which is unarguably another vision of the Necronomicon Cycle) is a book reported to have been written by the “Devil himself” as a guide to “his followers.” The work, said to have once been in the possession of King Solomon, reaches the realm of Medieval Sorcery in 1666 by Aristide Torchia, who publishes his version of the “Devil’s Notebook” as “De Umbrarum Regni Novem Portis.” Both Torchia and all but three copies of this work are burned by the Church.
The title, “Delomelanicon,” the current editor translates to mean “Book of Summoning the Darkness” (very similar to the coveted but equally fantasy-based witches Book of Shadows) although some Chamberlains have preferred the translation “Invocation of Darkness” [as given in the Soto translation to English].
If we lend a thought to this for a moment, leaving the trappings of semantic vocabulary and verification of medieval sorcerer’s grimoires aside – consider a book then that has been given to a class of followers of an entity contrary to the accepted “God On Duty” – considered a devil to one side and a savior to the other.
Immediately, when thinking of the politics that arose in ancient Mesopotamia, beings like MARDUK and ENKI are immediately conjured to mind – or some specific alien intelligence that might have reason for leading folks back through the Gates. And if they would indeed be hidden in folds “between” the Realm or Reality of Light we see everyday, then they would most certainly belong to the Shadows – and the spaces between spaces.
The archetype conjured to mind by the “Nine Gates” is very similar to the Necronomicon. There is, at the very least, an obvious emphasis on the symbolism of “portals”, “thresholds” and “gateways” – such as is inseparably paramount to this lore. Following the esoteric and occult traditions, the “Gates” are introduced to the Seeker under the guise of “Darkness,” because such was (and remains to be) the perception of what is “forbidden” and “hidden” knowledge – at least from the perspective of the Realm of Light…
The path of the Mystery Tradition has, up until now, led the seeker along a vast array of “lights” and “images” – up the rungs of a Ladder of Lights as it were – tracing the phantasmal images of the material world back to their Source.
But it is not the glamorous procurement of further persona and personality upgrades that the seeker is after, rather it is the absolution or annihilation of the same; those which you have already acquired and are but weights to keep you bound by the distractions of (and energetic slavery to) the material world of light and forms.
So the seeker passes through the Seven Gates of Life seeking to bring parts of the whole together – if they be so lucky. Too often it is the case that the initiate separates the whole into additional esoteric parts that merely ends with life further separated – the initiate completes the journey further from the Source. Therefore, the emphasis should not be on the bedazzlement attainable to the psyche of this world to delight in making some simply gematric or symbolic link – when all is actually connected in equality and oneness – not just to be found in a few “sacred” correspondences: the semantic relationships between observable attributes and invisible forces.
Wholeness. This is never fully realized in the World of Light that we become accustomed to because it exists already in a state of separation from the World of Darkness. Polarity. The point being made is not necessarily the glorification of the Darkness either. There are many people who succumb to the trappings of the Darkness, just as they do the Light. This can happen easily when both are existing in a duality that is contrary to the Oneness that is the Source. Duality is not Oneness – and no system observing such can ever offer complete unification in its knowledge.
So, what does one do? You can climb the Ladder of Lights and thereby unify the manifold natures of the existences found in the Light – but is this the end? Working back up the Tree of Life, the seeker has uncovered a very dangerous glitch in the system… This is not all there is. But where is it? And how is it that we can confront this hidden aspect for wholeness.
After having moved forth through the Gates of this Universe, the seeker inevitably moves passed the final doorway and is able to glean a look behind the curtain… and there is nothing more horrifying than what one will find. All we have done and worked towards, all we have quested for in our endeavors into the Light and into the System and when the curtain is peeled back it is only to reveal – Nothingness… the Primordial Abyss.
All of the systems in the mind that have given form their meaning has washed away and the realization of the illusion is paralyzing. For when we had our “Wizard of Oz” to toy with in our minds, we could at the very least laugh in our own folly at being fooled in the game of some supernatural crazed madman behind the curtains. At the very least things could be made to make sense – systematically.
But, now at the cusp of reality and sanity, we know better. Before you is the Other Side of the Tree… Crossing the Abyss… Into the Beyond…
Four years have passed and while many of the other titles and editions have seen special attention and revision – the Liber R materials remained as they were originally collected, a monumental literary contribution forged from many countless hours spent preparing essays and delivering the lectures meant to ‘close’ the cycle known first as the ‘Mardukite Core’ and now to the world as the ‘Necronomicon Anunnaki Legacy’.
As was once the case with Liber 9 for researchers
and students of the Year-1 materials, now available in the Necronomicon Anunnaki Bible anthology, the complimentary Year-2 research and development that completed the core was finalized with the release of Necronomicon Revelations: Unveiling the Great Deception of Aliens, Gods and Men in limited edition hardcovers exclusively to the Mardukite Research team known as the Chamberlains.
The release of Liber R coincided with additional changes that were taking place at the in-house publishing press of the Mardukites – the Truth Seeker Press overseen by the division of the Mardukite Ministries known internally as the Council of Nabu-Tutu.
Where once all of the books were being warehoused and distributed from a central office, more and more of this responsibility was being contracted out to third-party printers until finally Amazon Distribution appeared to be the highest bidder and most reputable seller to handle
the rising interest in Mardukite work. Since this transition took place, the Liber R edition that has reached international acclaim has remained unchanged.
Two years after the release of Liber R, during the Year-4 cycle of materials meant to append the already vast sweeping archive collection being materialized by the Mardukite Truth Seeker Press, a companion or sequel of sorts finally made its way to the public from the underground, also based on my lectures and essays regarding specifically the ‘Simon Necronomicon’, a topic I had only otherwise discussed in Liber R…
…and so they do certainly go together: Liber 555, available as Necronomicon for Beginners or the original Mardukite Heritage edition titled Stargate to the Abyss. Although portions of this later text are now included in this revised edition of Necronomicon Revelations, the practicality offered in the later text cannot be duplicated as the main tenet of each work is unique but complimentary.
Following the modern inception of a Mardukite movement, or perhaps the next phase of the New Babylon movement that was officially instigated by MARDUK and the Anunnaki even more strongly in the 1970’s than ever before in the recent past, a strong insurgence toward this ideal has begun to sprout up in all forms of media since the founding of our public identity in 2008. The seeds of this effort had been planted prior and now they appear to have infiltrated the world.
Our plan has worked well, no matter how meager
the public front we carry or how frugal of a life I have lived myself, this shit is real and shit is getting pretty fucking real out there in the world. If you are still blind to this now, no amount of self-guided study or social initiation or another episode of the History Channel is going to save your
ass.
Necronomicon Revelations boils the heart and soul of the magical revival down in such a way that has never before been so critically valid and important for the continued existence of beings on this planet. The nature of what beings still remains to be seen.
As has been expressed in our cycle of work regarding it, the tablets are a part of the literary collection of the ancient “Mardukite Order of Nabu” that led the religion and government in Babylon – and Egypt under a different guise.
The manner in which the tome is related to in Grant’s volume from the Typhonian Tradition of the Ordo Templi Orientis, titled Outer Gateways, concerning communications made by ceremonial magicians of magical lodges with the “Old Ones” or “Deep Ones” shows that he evidently took this seriously. That Kenneth Grant essentially inherited the O.T.O. organization and following of Aleister Crowley establishes that the Schlangekraft recension was far from the only means, or even remotely close to their own means of making contact with alien intelligences. But Grant knew of, acknowledged (no doubt made successful use of) and celebrated the work at length as a very real “portal to the Abyss.”
Mardukite NecroGate 