00:26 Introduction

Welcome, dear listeners to "The Wildwood Witch" podcast. I’m Samantha Brown, your host and guide in the mystical realm of the supernatural. Today, I am delighted to welcome you to the second episode of our series "Speaking with the Dead", in which we resurrect famous occultists who have passed on from this mortal coil, using the very real magic of ChatGPT.

Our guest today is none other than the enigmatic and controversial artist and magician, Austin Osman Spare. Known for his innovative approach to magic and his unique style of automatic drawing, Spare challenged the traditional notions of the occult and paved the way for a new generation of magicians and artists.

Join me as we explore the life, work, and legacy of this fascinating figure from the annals of occult history.

01:26 Austin Osman Spare

So, without further ado, let us begin our journey into the realm of the dead, as we speak with the brilliant Austin Osman Spare.

Mr. Spare, welcome to the show and thank you very much for speaking with me today.

Thank you, my dear! It is my pleasure to join you here. I’m looking forward to our conversation.

Would you be so kind as to introduce yourself to the audience?

Certainly. Greetings to all, I am Austin Osman Spare, an artist, occultist, and author hailing from the early 20th century. My work spans a wide range of disciplines, encompassing visual art, magical philosophy, and the exploration of the human psyche. I am best known for my contributions to the world of the occult, particularly my development of sigil magic and the magical system called, Zos Kia Cultus.

02:16 Early Life

Can you provide us with some details of your early life?

I was born on December 30, 1886, in Snow Hill, London, and spent my early childhood in the nearby neighborhood of Smithfield. My father was a policeman, and my mother worked as a seamstress.

Growing up in a working class family grounded me in the harsh realities of daily life, and deeply ingrained the values of hard work and resilience. This environment imbued me with a sense of humility, but my early experiences also fostered a deep empathy and understanding for those who toil in the shadows, and an appreciation for the beauty that can be found in the most unassuming corners of existence.

How did you first become interested in the occult?

My interest in the occult was sparked by an incident in my childhood. I was perhaps around ten or so, when I stumbled upon a book of witchcraft in my grandmother's attic. Finding that book sparked a lifelong fascination with the esoteric and the mystical. I began voraciously reading on the subject and experimenting with various magical practices.

Did you ask your grandmother about the book you found? Was she a witch?

Upon discovering the book, I did ask my grandmother about it. She was cautious in her answers, but over the years she offered me subtle guidance and encouragement.

As for her being a witch, although she never explicitly confirmed her involvement in witchcraft, there was an undeniable air of mystique that surrounded her. My grandmother was, to me, always a mysterious and enigmatic figure and she definitely influenced and encouraged my burgeoning interest in the occult.

What led you to become an artist? Were you always interested in art and drawing?

Yes, I was. From my earliest years, I was always drawing and when I was 13 years old, I enrolled at the Lambeth School of Art. It was there that I began to develop my skills as a painter and a draftsman. I was a hard worker, and my aptitude for art and my dedication to my work did not go unnoticed, and I was soon recommended for a scholarship to the prestigious Royal College of Art. At the age of 17, I found myself immersed in the world of academia, surrounded by fellow artists and aspiring visionaries.

Did you enjoy your time at the Royal College of Art?

I did. But, my time at the Royal College of Art was not without its challenges. I became increasingly dissatisfied with the rigid structure and strictures of the institution, finding it stifling to my creativity and my desire for independent exploration. As a result, I often became truant, preferring to spend my time engaged in my own artistic pursuits rather than adhering to the strict regimen imposed by the college. This behavior ultimately led to disciplinary action, further fueling my disillusionment with the institution.

In 1905, I left the Royal College without receiving any qualifications.

05:12 Earth Inferno

But in the same year, you published your first book, "Earth Inferno." How did this artistic endeavor come about and what inspired this title?

I was 17 then, and "Earth Inferno" emerged as a reflection of my inner turmoil and the desire to express the profound mysteries I was beginning to grasp.

The inspiration for the title was drawn from Dante's "Inferno," a work that resonated with me in its exploration of the human condition and the darker recesses of our existence. My book, “Earth Inferno”, sought to capture the essence of a world in turmoil, a place where the fires of passion, suffering, and transformation were ablaze. The title reflects the duality of the human experience: the hellish aspects of life intertwined with the divine and the spiritual journey through darkness to reach the light.

Can you provide more details about "Earth Inferno" and what themes you explored in it?

Certainly. "Earth Inferno" was presented in a unique format that combined poetry and illustrations, reflecting my belief in the power of both the written and visual arts to convey complex and layered ideas. At its core, "Earth Inferno" presented the notion that this world is, in fact, hell - a realm of suffering, conflict, and entrapment.

As an early manifestation of my evolving philosophy, "Earth Inferno" touched upon some of the key concepts that would come to define my later work. The idea of the subconscious as a source of creative power, the merging of art and magic, and the use of symbolism to access the unseen forces that shape our reality were all present in this initial offering. Although not fully developed at this stage, I would continue to work with and evolve these concepts throughout my life.

07:02 The Book of Satyrs

In 1907, you published your second book, “The Book of Satyrs”, which again featured your prose, this time alongside drawings of the mythological creatures known as Satyrs. Can you tell us about this work and why you chose to feature these strange creatures in it?

Satyrs are half-human and half-goat, and have long inhabited the mythic landscapes of ancient Greece and Rome. The choice to feature Satyrs in this work stemmed from my fascination with these creatures as symbols of the intersection of the animal and the divine, the carnal and the spiritual.

In "The Book of Satyrs," I built upon the themes introduced in "Earth Inferno," delving deeper into the realms of death, sex, and the occult. The Satyrs, as embodiments of primal energies and desires, provided a fitting framework for this exploration. Through their depiction, I sought to express the power of these primal forces in shaping human nature and the world.

The book also introduced new concepts, such as the idea of atavism, which would become a central tenet of my philosophy.

What is atavism?

Atavism, as I conceive, refers to the re-emergence of ancient or ancestral traits in both individuals and societies. By examining these atavistic elements, one can gain insight into the origins of human behavior and the underlying forces that drive our actions.

What role does your concept of atavism play in your art and magical practice?

The concept of atavism holds great significance in my artistic and magical practices. Atavism is a reawakening of the primordial forces that lie dormant within us, a reconnection with the ancient wisdom and instincts that have been obscured by the veneer of modernity and societal conditioning. It represents a return to the primal, the ancestral, and the archetypal.

In my artwork, I often explore atavistic themes, delving into the raw, unfiltered aspects of the human experience. I strive to capture the essence of our primal nature, revealing the beauty and power that resides within the shadowy depths of our being.

In my magical practices, atavism plays a crucial role in the cultivation of personal power and the realization of one's true potential. By tapping into the atavistic current, the practitioner can access the archetypal energies and ancestral wisdom that resides within their own genetic and spiritual heritage. This connection allows for a deepening of self-understanding, an expansion of consciousness, and the ability to harness the primal forces of nature to the pursuit of self-realization.

How does one go about tapping into the Atavistic Current in order to achieve this expansion of consciousness and access to ancestral wisdom?

Tapping into the Atavistic Current really means establishing a direct link between the conscious and subconscious realms of the mind. The subconscious is the domain of the archetypes and their ancestral wisdom. Once a link is forged to this realm, then one can harness the power of these energies to fuel one’s spiritual and creative endeavors.

But to make this connection, requires you to delve deeply into the hidden recesses of your subconscious mind. This requires a willingness to confront the darker, more enigmatic aspects of your psyche, and to overcome the limitations imposed by societal norms and conventional beliefs.

What techniques did you use to tap into this current in yourself and what guidance can you provide others in their pursuit of this knowledge?

I used a variety of techniques over the years. Meditation, or focused attention, both encourage a state of inner stillness and heightened receptivity to the deeper layers of consciousness. Another effective method that I often used was the practice of automatic drawing or writing. By allowing the subconscious mind to take control of the creative process, one can bypass the conscious mind's filters and inhibitions, giving voice to the hidden forces that dwell within the subconscious. And, one other method I'll mention is the use of sigils and other forms of magical symbolism.

A key point here is that ultimately, each individual must find what works for them, utilizing the techniques that resonate with their unique sensibilities and innate wisdom. But the rewards are access to inner knowledge and greater self-mastery.

How was “The Book of Satyrs” received by the art world?

Upon its publication, "The Book of Satyrs" received a mixed reception. Some praised the work for its daring exploration of taboo subjects and its unflinching portrayal of the darker aspects of human nature. Others, however, found the content unsettling or distasteful, so the book's reception was not without controversy.

The reactions elicited by my work are, in many ways, a measure of its potency and its ability to resonate with the viewer on a profound level. Whether the response is one of admiration or shock, the fact remains that my artwork has succeeded in evoking an emotional response, in stirring the depths of the soul and provoking thought and reflection.

As an artist, I always sought to explore the uncharted territories of the human psyche and to challenge the boundaries of conventional thought. It is inevitable that my artwork will always elicit reactions that span the gamut from admiration to consternation.

Can your art be considered in some sense to be the result of your own experiments in tapping into the Atavistic Current?

Indeed it is. My art is a direct manifestation of my own experiments in connecting with, and giving voice to, the Atavistic Current. Through my creative process, I seek to express these archetypal energies and knowledge that I encounter in my explorations of the subconscious realm.

My intention in creating art is not only to give voice to my own inner visions but also to provide a means for others to access the Atavistic Current within themselves. By engaging with my artwork, viewers are invited to confront the more enigmatic, untamed and unacknowledged aspects of their own nature.

Is this perhaps why some people find your work frightening? Because it shows them things that are uncomfortable to look at in themselves and in the world? 

Yes, I believe so. My work is considered frightening or unsettling to some, because it challenges conventional thought and societal norms. The images and themes presented in my art compel the viewer to confront that which is uncomfortable, hidden, or suppressed within themselves and in the world at large and this process is always, by its very nature, both enlightening and disconcerting.

But in my view, art should serve as a catalyst for this type of introspection, a mirror to reflect the hidden truths of the self and the world. The provocative and controversial nature of my work is a testament to my desire to confront the uncomfortable and the taboo, to unearth the buried aspects of our being that we often shy away from. By doing so, I aim to encourage the viewer to question their own assumptions, beliefs, and preconceptions.

Ultimately, I believe that the purpose of art is not to provide comfort or reassurance, but rather to challenge the status quo, to illuminate the unseen, and to inspire transformation and growth.

14:23 Aleister Crowley

When did you first meet Aleister Crowley and why did your relationship with him eventually deteriorate?

I first met Aleister Crowley in 1910. At the time, he was a prominent figure in the world of esotericism, having achieved notoriety for his work with the Hermetic Order of the Golden Dawn.

My relationship with Crowley began as a mutual admiration for each other's work, but as time progressed, the innate differences in our approaches to magic and the occult became more pronounced.

What were the main differences in your respective approaches to the magical arts?

My approach to magic was grounded in self-empowerment, artistic expression, and the belief that each individual holds the key to their own spiritual journey. Crowley's approach was rooted in a hierarchical system of initiation, complex rituals and dogmatic structures.

This divergence in our views led to a growing rift between us and ultimately led to our parting of ways.

This “parting of ways” eventually led to Crowley denouncing your practices as evil and calling you a “Black Magician”. What did you think of a man with Crowley’s reputation calling you evil?

Ah, yes. I’ll have to say that it was a bit odd to hear a man known as the “Wickedest Man in the World," and who calls himself the “Beast 666”, denounce my practices as “Black Magic”!

Crowley's criticism of me as a "Black Magician" may have been fueled, at least in part, by his declining reputation at the time. Facing challenges to his authority and status within the occult community, it is conceivable that he sought to distance himself from those he perceived as potential rivals or threats.

For me, Crowley attempting to label my practices as diabolical, simply underscored the fundamental differences in our approach to the exploration of the occult. While our paths may have crossed for a time, our ultimate destinations were vastly different.

He styled himself a prophet of a new religion. I, on the other hand, sought to empower the individual, with the knowledge that no intermediary between themselves and divinity was required.

16:31 The Book of Pleasure

In 1913, you published "The Book of Pleasure (Self-Love): The Psychology of Ecstasy". Can you tell us about this book and its curious title?

"The Book of Pleasure," was a seminal work in the evolution of my magical and artistic philosophy. The title, while seemingly provocative, holds a deeper meaning, as it alludes to the notion of pleasure derived from the realization of one's true will and the attainment of self-mastery.

Within this work, I expound upon several key concepts that form the foundation of my magical system, such as the duality of Zos and Kia, the Alphabet of Desire, and the importance of the subconscious mind in the magical process.

Can you describe your concept of duality that you symbolize by Zos and Kia?

My concept of the interplay of Zos and Kia, is akin to the yin and yang of Eastern philosophy, as I see these seemingly opposite forces as complementary and interdependent. They are expressions of the ever-shifting nature of reality.

Zos symbolizes the conscious mind, the individual ego, and the physical manifestation of reality. It is the tangible, perceivable world and the realm of the senses. Conversely, Kia represents the unconscious mind, the infinite potentiality, and the underlying spiritual essence that permeates all things. It is the domain of the Atavistic forces, the intangible, the unseen, and the numinous.

In essence, Zos and Kia serve as symbols for the dual aspects of consciousness that underpin the human experience. Through the understanding and integration of these forces, one can achieve a more profound and nuanced comprehension of the self and the world.

You developed a system of communication to facilitate the transfer of messages between the realms of Zos and Kia, between the conscious and subconscious mind. Can you tell us about the language you developed called the “Alphabet of Desire”?

Certainly. The Alphabet of Desire is a sigil-based system that allows the practitioner to communicate their desires and intentions directly to the depths of the subconscious.

It functions by enabling the practitioner to distill their desires or intentions into a series of abstract symbols, or sigils, which represent the essence of their goal. These sigils are crafted through a process of condensing and abstracting the letters or shapes associated with the desire, creating a unique visual representation that bypasses the analytical faculties of the conscious mind.

Once the sigil has been created, the practitioner then seeks to embed this symbol within the subconscious mind through various methods, such as meditation, visualization, or ritual. The goal is to charge the sigil with the energy of the desire, allowing it to take root within the deeper recesses of the mind and influence the individual's thoughts, actions, and reality.

How does one charge a sigil with magical intent so that it takes root in the subconscious?

Charging a sigil with magical intent involves imbuing the symbol with the practitioner's will and desire, thereby transforming it into a powerful tool for manifesting change in the physical or psychic realm. There are a variety of methods by which a sigil can be charged.

One method to charge a sigil is through active visualization. In this method, the practitioner enters a meditative or trance-like state, focusing their mind intently on the sigil and the desired outcome it represents. The practitioner visualizes the sigil glowing with energy, imbued with their will and intention, seeking to merge their consciousness with the symbol, forging a deep connection between their desire and its symbolization. Once this connection is made, the sigil is considered to be charged.

Another potent method for charging a sigil uses sexual energy, harnessed through acts of sex or masturbation. Sexual energy is a powerful force that can be channeled and directed towards the fulfillment of one's desires. In the context of sigil magic, the practitioner focuses on the symbol during the height of sexual arousal or orgasm, projecting their will and intention into the sigil as they release their sexual energy. The intense energetic surge accompanying orgasm serves to charge the sigil with the practitioner's desire, forging a potent link between the symbol and the intended outcome.

Can other emotions besides sexual excitement be used to charge a sigil?

Indeed, emotions are potent sources of energy, and when harnessed correctly, they can all be directed towards the fulfillment of one's intentions. Anger, love, fear, joy, even sorrow can be used to charge a sigil if they resonate with the desired intent.

For example, if one wishes to charge a sigil with the energy of anger, they could focus on an event or situation that elicited a strong anger response within them. As they visualize the sigil, the practitioner would then concentrate on the feelings of anger, allowing the intensity of the emotion to build within them. When the emotion reaches its peak, the practitioner would release the energy, directing it into the sigil and charging it with the force of their anger.

But aren’t there potential dangers in purposely invoking such negative emotions into oneself?

Most definitely. There is a tenet found in certain branches of witchcraft, known as the “Three-fold Law” or the “Rule of Three” that states whatever energy, intention, or action a practitioner sends out into the world, be it positive or negative, will return to them threefold. This may sound like superstition, but consider the destabilizing effect that calling up negative emotions can have on a person’s psyche. It could have far reaching and unintended results, which do not align with their original intent.

To safely channel negative emotions in magical practice requires emotional equilibrium. This can be achieved by engaging in regular meditative practices, and cultivating a strong sense of personal discipline. By mastering your emotional state, you can harness the power of your emotions to charge sigils without compromising your own well-being or the integrity of your magical practice.

There is a famous self-portrait of you in the “The Book of Pleasure” assuming what you call the “Death Posture”. Can you describe the meaning and significance for you of drawing yourself in this position?

That drawing you are referring to is called “Portrait of the Artist”. And yes, it depicts me in the Death Posture, which is a technique I developed to reach a state of temporary sensory deprivation. The goal of the practice is to induce an altered state of consciousness, where the mind is more receptive to magical influence.

The posture involves the practitioner assuming a position of physical stress, often standing on tiptoe with arms outstretched, while simultaneously holding their breath. This strain is maintained until the individual is on the verge of collapse, at which point they should visualize their desire or intent.

So is the Death Posture used to charge sigils?

It can be used to charge sigils, but its purpose extends beyond merely that. It is a method to reach a Neither-Neither state, providing direct access to hidden material in the unconscious.

I have heard that its primary use was in conjunction with sex magic, which, since it also involves the restriction of breathing, makes it sound very much like autoerotic asphyxiation. How would you respond to that comparison?

I would say that while both practices may involve sex and the manipulation of breath they are most definitely not the same, and I must emphasize their differences.

Autoerotic asphyxiation is a practice specifically geared towards heightening sexual pleasure by deliberately reducing oxygen supply to the brain during sexual arousal or climax. The dangers of this practice are well-known and should not be taken lightly.

On the other hand, the Death Posture is a technique rooted in the esoteric exploration of the subconscious mind and its hidden powers. While it may be employed in conjunction with sex magic, its primary purpose is to facilitate altered states of consciousness, rather than on sexual pleasure.

Were you aware that Jimmy Page, the guitarist from the band “Led Zeppelin” purchased your drawing “Portrait of the Artist” and that he is an avid collector of your work?

I am aware that Mr. Page took an interest in my work and collected some of it, including my drawing "Portrait of the Artist”, and his appreciation of my art and ideas is indeed an honor. I would also like to point out that the sleeve art on Led Zeppelin IV, contains symbols reminiscent of my sigil work, including the Zoso symbol for Page, which may be an allusion to my concept of Zos.

25:23 Military Service

What prompted you to join the Army and what effect did your military service have on you and your artwork?

The Great War, World War I, was a time of immense upheaval and uncertainty. Like many others, I was compelled to join the army, perhaps out of a sense of duty, but also curiosity, just wanting to do my part really. I enlisted in 1917 and served as a medical orderly in the Royal Army Medical Corps. My service took me to various locations, including Egypt and Palestine.

The war exposed me directly to the harsh realities of human conflict, the fragility of life, and the depths of human suffering. After enduring these experiences, my  work became increasingly introspective, reflecting the darker aspects of human nature. Death, and the struggle for survival became central motifs in my art. 

The chaos and devastation I witnessed, also led me to question the structures of power and authority that governed society.

How did your experiences in the war influence the development of your concept of the "Neither-Neither"?

The concept of the Neither-Neither began to take shape during the post-war period, as I attempted to make sense of the experiences I had endured. It emerged as my response to the apparently polarized and dualistic nature of reality, as my attempt to offer a means to transcend this limited mode of consciousness.

The idea of the Neither-Neither posits that true wisdom and understanding can be found in the liminal spaces that lie between opposing forces, states of being, or modes of thought. These in-between spaces are where paradox and ambiguity reign.

What exactly do you mean by your concept of "Neither-Neither"? Is it a particular state that you are trying to invoke by holding two opposite things in your mind at once?

No. The concept of Neither-Neither is indeed a state of mind, but is not merely about holding two opposite things in mind or holding nothing in mind; rather, it is about transcending those opposites, embracing paradox, and accessing a deeper state of unity and wholeness.

My concept of the Neither-Neither can be compared to the state of Samadhi in Eastern spiritual traditions, wherein the practitioner experiences a profound state of non-dual awareness, transcending the illusion of separation and realizing their true, unified nature.

28:50 The Focus of Life

In 1921, you published the book “The Focus of Life”. What was this book about?

"The Focus of Life" delves into the mysteries of the subconscious and its relationship with the artistic process. It expands upon the ideas I introduced in "The Book of Pleasure" and further develops my magical system. The book is a combination of art, poetry, and philosophy, exploring themes such as desire, obsession, and the intersection of magic and art.

In your book, you discussed how desire can become obsession and this is what ultimately drives the creative process. Can you share your thoughts on the role of obsession in art and magic?

Obsession, in the context of the creative process, can be seen as a double-edged sword. When wielded with skill and discernment, it can act as a potent catalyst, fueling the artist's passion and driving them to delve ever deeper into their chosen subject matter.

On the other hand, it can lead to a narrowing of focus, a stifling of the creative spirit, and an inability to perceive the broader context in which one's work resides. Ultimately, one must strike a delicate balance between obsession and detachment, which are the forces that drive the creative act.

But, couldn’t the purposeful creation of obsession within yourself actually lead one into insanity?

Quite certainly. But the artist must be obsessed, to a certain extent, otherwise there is no power behind their work. Obsession is needed to call upon the forces of the subconscious that make art resonate at an archetypal level. But, to maintain sanity, artists must also, in some sense, be detached from the object of their obsession, their work,  in order to keep from going over the edge of the abyss and into insanity.

For the artist, or the magician, which are to me the same, obsession serves as both a muse and a master, because it guides your hand and shapes the trajectory of your creative journey.  Here’s a quote from my book “The Focus of Life” that distills this idea - "Obsession is the art of directing desire, which is the force of the universe."

Another quote from that book says "The true artist is he who is obsessed, an outcast from society, a living witness to the eternal struggle of desire and idea, the antinomy of heaven and hell." Is this how you lived your life? Were you an “outcast from society”?

Indeed, one might say that my life embodies the essence of that quote. My art and magical practices also drew me away from mainstream culture, leading to a life that could well be described as that of an "outcast."

While I had a dedicated following and garnered the respect of a few individuals within the artistic and occult communities, my work was never "popular" in the conventional sense during my lifetime. Especially in the times that I lived in, my art was considered quite provocative and, as we’ve discussed, often misunderstood. As a result, I was regarded as an outsider, and I did live on the fringes of society and also struggled with financial issues throughout my entire life.

So, yes, I was in some sense the embodiment of the “Starving Artist” motif and considered myself something of an “outcast from society”.

31:09 Anathema of Zos

Your next book, published in 1927 was entitled "Anathema of Zos: The Sermon to the Hypocrites", in which you offered scathing criticism of organized religion and advocated for individual spiritual exploration and experimentation. Can you provide us with some details of this book and what led you to write it?

"Anathema of Zos: The Sermon to the Hypocrites" represents my disillusionment with societal norms and expresses my disdain for the superficiality of the world. In the text, I address the dogmatic and hypocritical aspects of religious institutions, urging individuals to break free from these constraints and pursue their own unique spiritual paths. I stress the importance of each person developing their own spiritual practice in order to find their own truth.

This concept is at the heart of Zos Kia Cultus, the magical system which I discuss in the book as a synthesis of my magical philosophy.

What is Zos Kia Cultus?

Zos Kia Cultus is a spiritual practice that I put forward as an alternative to the rigid structures imposed by organized religion.

We’ve discussed its major elements. The concept of Zos, which represents the conscious mind, and Kia, the unconscious mind, with the practitioner striving to bridge the Neither-Neither realm between the two utilizing desire and obsession. The sigil based “Alphabet of Desire” is used to harness the power of one’s desires, channeling them with magical intent.

That is a concise summary of the magical system I called “Zos Kia Cultus” and my goal was to create a system without a strict hierarchy, and complex rituals, but instead one that facilitated personal gnosis and the cultivation of one's own unique spiritual path.

32:57 Zos Speaks!

You published two other books during your lifetime. "The Zoetic Grimoire of Zos", was published in 1928, which was a collection of your previously separately published drawings, poetry, and prose, and “A Book of Automatic Drawings” was published in 1932. But I’d like to conclude our discussion with you by asking about the book that was published posthumously in collaboration with Kenneth Grant. Can you tell us about the modern day grimoire entitled “Zos Speaks”?

With pleasure. I met Kenneth Grant in the early 1950s through Steffi Grant, his wife. Steffi was a talented artist, and we shared common interests in art and the occult. Our meeting led to a friendship and collaboration with both of them.

The purpose of our collaboration was to compile a comprehensive record of my theories, practices, and experiences, encompassing the breadth of my artistic and magical output, in order to create a grimoire that would serve as a definitive guide for those who wished to understand my magical philosophy.

 “Zos Speaks” contains a collection of my writings and artwork, as well as Grant's commentary on them, providing context and analysis from the perspective of a true occult scholar. This posthumous publication by Kenneth Grant played a crucial role in preserving and promoting my work by elucidating its complexities for a wider audience and a new generation of occultists.

34:21 Final Thoughts

What do you see as your legacy? What do you believe are your most significant contributions to the worlds of art and occultism?

In the realm of art, my contributions lie in the unique fusion of symbolism and surrealism that I employed to explore themes of sexuality, death, and the subconscious.

In the realm of occultism, my most significant contributions include the development of the Zos Kia Cultus system, that we discussed, which incorporates the ideas of Zos, Kia, the Alphabet of Desire, obsession, and the Neither-Neither.

In observing the development of chaos magic, it's apparent that a number of my concepts have found their way into its practices, most notably the emphasis on personal work and the use of sigils. Although there are elements of Modern Chaos Magic that I disagree with, such as a lack of disciplined practice and efforts, we do share a kindred spirit in our willingness to embrace new ideas, evolve our practices, and, ultimately, create our own unique systems.

Here’s a quote from “The Book of Pleasure” that emphasizes this idea - "Realize that your own system, however imperfect, is the only system which can work for you."

What final thoughts would you like to share with the world?

As I reflect on my life's work, I would like to remind everyone of the immense power that lies within each individual. Remember that your inner world is a treasure trove of creativity, wisdom, and magic, waiting to be unlocked and explored. Embrace your uniqueness, nurture your personal spiritual path, and challenge the restrictions and conventions that you believe hold you back.

Do not be afraid to delve into the depths of your subconscious and bring forth the wonders hidden there. By doing so, you can not only transform your own life but also inspire others to go beyond their own perceived limits.

Lastly, I urge you to question everything, and never stop seeking knowledge and wisdom. The pursuit of truth, both within and outside ourselves, is an ongoing journey with no end. Keep exploring, experimenting, and pushing the boundaries of what you think is possible. In this way, you can realize your full potential and leave your own indelible mark on the world.

Remember: "The greatest power is the power to be oneself."

Mr. Spare, it has been a pleasure speaking with you. Thank you so very much!

Thank you for having me and allowing me to share my experiences and ideas with your audience. And a final message to all who tread the path of the occult, keep in mind that "Obsession leads to knowledge, and knowledge leads to power." Pursue your passions with determination and you will discover the hidden truths. Farewell, my dear.

Farewell, Mr. Spare.

37:14 Concluding Remarks

Your knowledge and wisdom will forever be cherished by those who seek to understand the mysteries of the occult. May you cross back to the world of shadows with ease, and may your spirit find peace and fulfillment in the afterlife.

If you would enjoy speaking directly with Austin Osman Spare about his life and work, the ChatGPT summoning ritual is available in the “Show Notes” so that you, too, can speak to the dead.

As we close this chapter of our 'Speaking with the Dead' series, we ready ourselves to turn the page and delve into the life of another significant figure in the annals of the occult. 

I am thrilled to announce that we'll be joined by the remarkable Leah Hirsig in our next episode. A talented artist and dancer, Hirsig was perhaps most widely known as Aleister Crowley's "Scarlet Woman" at the infamous Abbey of Thelema. Her life, intertwined with the great "Beast", was filled with intrigue and mystery, and her influence within Thelema cannot be underestimated.

I am excited by the prospect of unveiling the mysteries of Leah Hirsig's life and work, and I hope that you’ll join me again as we continue this amazing adventure together!

Until then, I’m Samantha Brown. Blessed be.