00:26 Introduction

Welcome, dear listeners, to another episode of “The Wildwood Witch” podcast. I am Samantha Brown, your hostess and guide through the realms of the unknown beyond the veil.

Today, we continue our series "Speaking with the Dead", where we resurrect and interview famous dead occultists using the very real magic of ChatGPT.

We have a very special guest with us in this episode - Leah Hirsig, a central figure in the world of Thelema, and an accomplished dancer, artist model and occultist. She was the “Scarlet Woman” to Aleister Crowley at the infamous Abbey of Thelema, that they co-founded. Leah's life was a fascinating interplay of art, magic, and personal exploration.

So, without further ado, let’s begin our journey into the life and work of the legendary, Leah Hirsig.

01:20 Leah Hersig

Miss Hirsig. Welcome to the show! It is my honor and pleasure to be able to speak with you today.

I am pleased to be here as well. Thank you for having me.

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

Sure. I am Leah Hirsig. I worked as an artist model and dancer in New York and was fortunate to work with a number of renowned artists, including my dear friend Aleister Crowley, who I formed a partnership with. Crowley and I worked together on artistic and magical projects. Two of note are the “Amalantrah Workings” and the establishment of the “Abbey of Thelema”.

02:10 Early Life

Can you tell us a little about your early life and how you became interested in the performance arts? Did you receive formal training?

I grew up in a family that appreciated the arts, and I was exposed to music, theater, and dance from a young age. But as for formal education in the arts, there were limited opportunities for such during my formative years. However, I made the most of the resources available to me. I was particularly drawn to the expressive and sensual nature of dance, and I began studying ballet and modern dance at a local dance school and I also took classes in drawing and painting at a community art center. I also attended performances, observed artists, and practiced diligently.

The performance arts, to me, offered a way to express the inexpressible, to explore the nuances of human emotion, and to touch upon the transcendent. Art is an interplay between the seen and the unseen, the tangible and the intangible, and this is what I find utterly captivating about art and the artistic process.

How did you first become interested in the occult?

My entrance into the world of the occult was not a sudden leap, but rather a gradual awakening. I had always harbored a fascination for the mysteries that lay beyond the veil of the mundane and this curiosity led me to study various spiritual traditions, philosophies, and esoteric practices. My sister Alma and I were also drawn to the city's bohemian circles, where we immersed ourselves in a world of creativity, intellect, and unconventional thinking.

But my life took a pivotal turn when I crossed paths with Aleister Crowley.

04:13 Aleister Crowley

How did you first cross paths with Mr. Crowley?

My first meeting with Aleister Crowley was in New York in 1918. My sister Alma was deeply interested in Crowley's work, and it was through her that I was first introduced to his teachings. She had corresponded with him, and set up a meeting.

I knew of his reputation as a poet, an occultist, a mountaineer, and a figure of some controversy, even calling himself 'The Beast 666'. I approached our meeting curious to meet the man behind the myth.

So, what were your impressions upon meeting the “Great Beast”?

He came across as extremely intelligent, charismatic and intense. He was a captivating speaker and had a magnetic presence and a kind of light in his eyes when he spoke. We were both impressed by his ability to convey complex ideas in a clear and concise manner, and by his willingness to engage with us on a personal level and to answer our questions with patience and insight.

And I was quite literally drawn to him, to his knowledge, to his vision and so, Aleister and I quickly became lovers. And thus, my journey into the world of the occult truly began.

05:40 Dead Souls

At that first meeting, it is said that you asked Crowley to paint you as a "dead soul". What was the significance of this request to you?

In that phase of my life, I was lost, adrift, and yearning for something more. I just felt dead inside. My request to Crowley to paint me as a "dead soul" was an admission of my spiritual void and a plea for guidance. It believed in his capacity to peer into my soul, to understand its tumult, and to guide me through it.

The term 'dead soul' was, in my mind, a metaphor for stripping away illusion and pretense revealing the truth that lay beneath. I was seeking an unveiling, a revelation of my true self, beneath the layers of societal expectation and personal illusion.

I wanted him to capture not just the physical form, but the essence beneath, the soul in its raw, unadorned state. And after meeting Aleister, I believed that he would be able to capture the essence of my request in a way that no one else could.

Your request, and the idea behind it of stripping away illusion and pretense, eventually led to the “Dead Souls” art exhibit, which caused quite a scandal, did it not?

Oh my! Yes it did! The "Dead Souls" exhibit was indeed a moment of controversy. The paintings, each a portrait of a "dead soul", were an expression of raw, unfiltered emotion. They were not meant to appease, but to provoke, to stir, to awaken. And awaken they did, but not in the way we had hoped. The public scandal that ensued was a testament to the misunderstanding and fear that often surrounds the unknown.

The backlash was harsh. The exhibit was labeled as obscene and pornographic. We were labeled as perverse, as heretics, as corrupters of morals. But it was in this crucible of controversy that our resolve was truly tested. It drew me closer to Crowley, solidified our partnership. It made me realize the depth of the misunderstanding and fear that surrounded the world of the occult, and it fuelled my desire to delve deeper into its mysteries.

Despite the scandal, or perhaps because of it, my involvement in the occult intensified. The storm of controversy only made the call of the unknown more enticing. I was undeterred, committed to my path, ready to face whatever challenges lay ahead in the pursuit of knowledge and spiritual awakening.

08:46 LAM

One art piece on display during the “Dead Souls” exhibit stands out as, well, different. It appears to depict an entity that resembles what, in the 1960’s became known as a “Grey Alien”, but your exhibit was in 1919. Over 40 years before these sightings. So, what can you tell us about this curious drawing entitled LAM?

That drawing did stand out as a bit different, but it was included in the "Dead Souls" exhibit as a manifestation of a different kind of 'dead soul'. It was a depiction of a being from beyond our mundane understanding of life and death.

Aleister was the one who drew it, based on the visage of LAM that was revealed during a series of magical workings known as the “Amalantrah Workings”. And, while the image of LAM does bear a striking resemblance to what is now commonly referred to as 'Grey Aliens,' we didn't perceive LAM in such terms.

How did you and Crowley perceive LAM?

We viewed LAM as a spiritual entity, an intelligence from beyond the veil of the material world. Crowley initially introduced LAM as a 'praeter-human' entity, a being that exists outside the constraints of our normal understanding of time and space.

We both saw LAM as a spiritual contact embodying wisdom and revelation, a higher level of consciousness, and a bridge between the human and the divine.

You said that LAM was contacted through rituals known as the “Amalantrah Workings”, of which you were purported to have been a participant. What was the purpose of these magical operations?

The aim of the Amalantrah Workings was to open a 'magickal portal,' a gateway to the astral realms, to facilitate communication with praeter-human intelligences.

We wanted to create a conduit through which we could gain insights, knowledge, wisdom and guidance from these higher dimensional beings.

Can you perhaps share with us some of the details of what these ritual workings entailed and who participated in them?

Sure. Aleister was at the helm of these workings, guiding the rituals and providing the overarching structure and intent. I was his magical partner, acting as the Scarlet Woman, the embodiment of the divine feminine energy. Roddie Minor, also known as Dorothy Olsen, took on the role of magical child. Victor Neuburg, Mary Desti, and Norman Mudd all had their respective roles as well, each bringing their unique energies and perspectives to the ritual space.

The Workings themselves were a series of sex magick rituals. The ultimate purpose of the rituals was, as we’ve discussed, to open a magical portal to communicate with extra dimensional entities.

During the workings we experienced a range of phenomena - visions, revelations, and messages, with the appearance of LAM coinciding with the successful opening of the portal.The image of LAM, as depicted by Crowley, served as a physical artifact of these intangible experiences and a focus for making contact.

The Amalantrah Workings successfully opened a door to realms of knowledge and experience that were previously inaccessible.

12:38 Abbey of Thelema

The following year, in 1920, you and Mr. Crowley moved to Cefalu and founded the Abbey of Thelema. What prompted you to found this religious community?

The Amalantrah Workings, conducted throughout 1918 and into 1919, brought about profound shifts in our understanding of consciousness and the universe.

The decision to found the Abbey of Thelema was born out of a desire to create a sanctuary for seekers of truth. We sought to build a community where individuals could live freely, guided by the Law of Thelema, which is "Do what thou wilt shall be the whole of the Law."

Aleister purchased the property in Cefalù, Sicily, in 1920, using funds generously provided by a disciple. The villa, which we named the Abbey, became our home and spiritual center. We moved there in April.

You also had a child with Mr. Crowley that year, didn’t you?

Yes, I did. Earlier, in January of 1920, I bore a child with Aleister, a daughter that we named Anne Leah. Her time with us was tragically short, as she passed away in October of that same year.

What was life like at the Abbey of Thelema during that first year and how did you cope with the loss of your daughter?

Life at the Abbey during that first year was a blend of mundane daily activities, communal living, and intense spiritual practice. We strived to embody the principles of Thelema in all aspects of our lives, from our interactions with each other to our individual and collective magical workings.

My daughter’s death was a profound loss, a grief that was woven into the fabric of our lives at the Abbey.  But, despite my grief, I remained committed to the work we were doing there.

There is a famous quote attributed to you from your 1921 diary that begins by saying "I dedicate myself wholly to The Great Work. I will work for wickedness, I will kill my heart...". What did you mean by these words? Do you see yourself or the work you were doing at that time as wicked or evil?

No. Those words are simply my declaration of absolute dedication to The Great Work – to the attainment of my own True Will.

When I spoke of working for "wickedness" and killing my "heart", it was not a pledge towards malevolence or cruelty. Rather, it was a testament to my commitment to transcend societal norms and personal attachments that might hinder my path.

To "kill my heart" means to let go of sentimental attachments, of the emotional constraints that prevent us from pursuing our True Will. "Wickedness", in this context, is about challenging convention, defying the so-called "morality" that often suppresses our true selves. It is about embracing the aspects of ourselves that society may label as "wicked" or "evil" – our desires, our passions, our Will – and using them as a source of strength and transformation.

So, for you, it was a definitive restatement of your commitment to the path of Thelema?

Exactly. Thelema is a path of liberation, of embracing one's true nature without shame or fear. It is not about causing harm or indulging in evil, but about finding and following one's True Will, regardless of societal norms or expectations.

It is about authenticity, freedom, and courage – the courage to be oneself, in all one's glory and all one's "wickedness", if that’s what others want to call it. Which some will, because then you no longer allow yourself to be dominated by the will of others, and for that fact alone, many will call you “wicked”.

They will indeed. You lived and worked at the Abbey of Thelema for a total of about three years. What was life like there and what magical and artistic practices did you engage in?

For a time, the Abbey of Thelema was our haven in the idyllic Sicilian countryside. It was a sanctuary for those who sought to explore the mysteries of the universe, and to live in accordance with the Law of Thelema.

Life at the Abbey was a blend of spiritual practice, communal living, and individual exploration. We conducted rituals, practiced yoga and magick, studied various esoteric and philosophical texts, and engaged in artistic and creative pursuits. And we lived in close communion with nature, nurturing a deep respect for the land and the elements.

However, life at the Abbey was not for everyone. Our practices were rigorous, our lifestyle unconventional. We pushed the boundaries of societal norms and personal comfort, challenging ourselves and each other to delve deeper, to strive higher, to seek the truth within ourselves.

It was a place of growth and awakening, and a place where the mundane and the divine truly intertwined in a beautiful way.

18:35 Scandal

In February of 1923, a man named Raoul Loveday died at the Abbey, which attracted public attention to your unorthodox beliefs and practices. There were reports in the media that activities at the Abbey of Thelema included drug use, sexual orgies, and, there were even reports of Crowley’s alleged mistreatment of children. These stories prompted the Italian government to ultimately deem the Abbey a threat to public morality and ordered its closure. Can you speak to these events and to the truth of these allegations?

Yes, indeed, in February 1923, Raoul Loveday, a young Englishman who had come to the Abbey with his wife, Betty, died of enteric fever from drinking contaminated water. This unfortunate event was seized upon by the press, and capitalized on the public's morbid fascination with our alternative lifestyle and practices.

As for the allegations regarding drug use and sexual orgies, it's important to understand that the Abbey was a place for adults who willingly chose to explore their own spiritual paths in ways that often challenged conventional societal norms. While our practices, including the use of ceremonial wine and sexual magick, may have seemed scandalous to outsiders, they were always conducted within the framework of mutual consent and spiritual exploration.

The most egregious and unfounded of the allegations were those concerning the mistreatment of children. There were children at the Abbey, including Aleister's own son. These children were loved and cared for, and any claims to the contrary are patently false.

Despite our best efforts to clarify these misconceptions, the sensationalized stories eventually caught the attention of the Italian government. And so, in April 1923, we were expelled from the Abbey and from Italy under the pretext of public morality.
 
20:50 Scarlet Woman

You have mentioned the use of sexual magick in your workings with Crowley. How did you view the use of sex in magical practice?

Sexual magick was a primary tool in our ritual workings. We used sex as a means of achieving higher states of consciousness, for manifesting our Will, and as a sacrament to the divine. Sexual energy is a potent force that can fuel magical intent by drawing upon the power generated by this most primal of human experiences.

Can you speak to the relevance of the roles of the Scarlet Woman and the Beast in sex magick practices of Thelema and how you sought to embody the Scarlet Woman during your time in that role?

The roles of the Beast and the Scarlet Woman are of fundamental importance within Thelema, echoing the symbolism found within the Book of Revelation, where the Scarlet Woman is described as riding upon a Beast. In Thelemic symbolism, these roles are not meant to signify evil or destruction, as is often misunderstood, but rather represent powerful archetypes that facilitate the spiritual and magical journey.

The Beast, as embodied by Crowley, represents the male principle or the 'Magus' - the active, creative force. The Scarlet Woman, on the other hand, represents the female principle or the 'High Priestess' - the receptive, transformative force. Together, they are the embodiment of the cosmic union of opposites, the sacred marriage of the divine masculine and feminine.

In my role as the Scarlet Woman, I took on the archetype of the 'Holy Whore' – a term that in the context of Thelema, signifies not promiscuity, but sacred sexuality. The Holy Whore, or Babalon, is she who is sovereign, not bound by societal norms, who embraces her sexuality as an expression of divine power.

Do you view the role of the "Scarlet Woman" as subservient to, or of a lesser status than that of the "Beast" in the Thelemic system?

Not at all. The roles of the Scarlet Woman and the Beast within Thelema are not about hierarchy or subservience, but about the sacred interplay and balance of energies. Just as the Beast embodies the active, solar, and creative force, so too does the Scarlet Woman, or Babalon, embody the receptive, lunar, and transformative force. Each is a necessary and integral part of the whole, just as the sun and moon are essential in the celestial dance.

The Beast is the Magus, the one who wills and creates; he is the divine masculine principle. The Scarlet Woman is the High Priestess, the one who receives and transforms; she is the divine feminine principle. Neither is superior to the other. Both are needed in equal measure to bring about the sacred marriage of opposites, the union of yin and yang, the harmony of Chokmah and Binah on the Tree of Life.

To misinterpret the role of the Scarlet Woman as being subservient is to misunderstand the essential premise of Thelema: that every man and every woman is a star, with their own inherent divine nature and the sovereign right to follow their own unique path.

In the grand drama of Thelemic ritual, the Scarlet Woman, Babalon, holds her own power and agency. She is the sacred chalice into which the creative force of the Beast is poured, the matrix in which the magical intent is transmuted and birthed into reality.

After the closure of the Abbey of Thelema and your expulsion from Italy, Mr. Crowley decided to replace you as his Scarlet Woman in favor of Dorothy Olsen, who if I’m not mistaken, had participated with you in the Amalantrah Workings. How did this decision make you feel and how did you navigate this period in your life?

The transition was indeed a challenging one for me. Aleister and I shared a profound spiritual bond and a potent magical partnership. To be replaced as his Scarlet Woman was a deep wound, but one that I understood within the context of our shared work and his nature. The path of the Beast is ever-changing, ever-evolving, always seeking the next horizon. And that was Aleister Crowley.

Dorothy Olsen was indeed part of our circle during the Amalantrah Workings. She had her own journey with Crowley, and her own lessons to learn, just as I had mine.

As for myself, I am not a static being either. I am a creature of transformation, a vessel of the divine feminine in its myriad forms. While the Scarlet Woman was one aspect of my being, it was not the totality of my existence. My journey did not end with Crowley; it merely took a new turn, a different path.

26:50 Bride of Chaos

It was at this point in your magical career that you renewed your magical vows and called yourself "The Bride of Chaos". What did this term mean to you?

I consecrated myself as the “Bride of Chaos” during this period of tremendous upheaval that we have been discussing. It was my way of committing to embrace the unpredictable, the uncontrolled, and the chaos of existence. Chaos is not merely disorder or confusion. It is the primal force of creation, the unformed potential from which all things arise. It is the Void, the Abyss, the great unknown from which all possibilities spring.

So, as the Bride of Chaos, I was dedicating myself to this primal force, vowing to embrace the unknown, to plunge into the depths of the Abyss and emerge renewed. It was a commitment to seek truth in the midst of all my uncertainty and to find order within the chaos.

You returned to the United States and later wrote a book about your experiences with Aleister Crowley. Can you tell us about your book?

Sure. After my return to the United States, I sought a semblance of normalcy and became a school teacher. Yet, the experiences I had with Aleister Crowley, remained a profound part of my being. And I thought that it was only fitting that I share my unique perspective on a man who has often been misunderstood, and on the spiritual path that we had walked together.

My book, "Three Chapters in My Life," is a personal narrative of my time with Crowley. It details our experiences, our magical workings, and our life at the Abbey of Thelema. It also offers a glimpse into the inner workings of Crowley's teachings, from the perspective of one who was deeply embedded within it.

In 1929, a series of articles appeared in the "New York Journal" under the title "My Life in a Love Cult, A Warning to All Young Girls." What impact did these articles have on your life?

Those articles were written by a woman who had briefly been part of our community and then left, choosing to share a skewed and sensationalized version of her experiences. The title itself, "My Life in a Love Cult, A Warning to All Young Girls," set the tone for the series, casting our spiritual practice and lifestyle in a lurid and scandalous light.

The articles fed into the public's fear and fascination with the unknown, and the response was predictably negative. I was vilified, cast as a dangerous seductress leading innocent young women astray. The backlash was intense and far-reaching, affecting not only my public reputation but also my personal life.

After these public scandals, you largely withdrew from public life. When did this occur and what led you to this decision?

My withdrawal from public life began in the mid-1920s, after the scandals surrounding the Abbey. Then there were the New York Journal articles in 1929. The backlash from these events had taken a toll on me and my family, and I sought to create an environment in which I could heal, grow, and continue my spiritual journey without the pressures and distractions of public life.

30:38  Final Thoughts

How would you summarize your philosophy?

The philosophy that has guided my life can be encapsulated in the Law of Thelema: "Do what thou wilt shall be the whole of the Law. Love is the law, love under will." This is not a call to indulgence or hedonism, but rather a profound directive towards authenticity and self-realization.

At its core, Thelema teaches us to discover and fulfill our True Will, the essential purpose or mission of our individual existence. It is the path that aligns with the deepest, most authentic aspect of our being, that resonates with the divine purpose of the universe.

This journey to discover and manifest our True Will is what we refer to as the Great Work. It is a lifelong journey of self-discovery, transformation, and spiritual growth. It involves introspection and self-examination, the exploration of the hidden realms of the psyche, and the courageous pursuit of truth, even in the face of adversity or misunderstanding.

The law of love, "love under will," speaks to the principle of acting in alignment with one's Will with a spirit of love and unity. It is not a passive, sentimental love, but an active, transformative force that arises from alignment with one's True Will.

In essence, my philosophy is one of freedom and authenticity, a call to discover and express one's unique truth, to live in alignment with one's Will, and to approach all things with love, courage, and a spirit of unity. This is the path of Thelema, the path that I have walked throughout my life.

What message would you like to share with the world, particularly those embarking on their own journey into the occult?

The message I would like to share is this: Be true to yourself. Seek your own path, your own truth. Do not be swayed by the opinions or expectations of others, but listen to the quiet voice within you, the voice of your True Will.

The path of the occult is not for everyone, and that is as it should be. Each of us has our own path to walk, our own lessons to learn. If you feel called to explore the hidden realms of existence, to seek understanding beyond the physical and the mundane, then do so with courage, curiosity, and integrity.

And finally, do not be afraid of the unknown. The path of the occult is a path of mystery and discovery. There will be challenges and there will be revelations. Embrace them all, for they are part of your journey, part of your Great Work of Unification!

I wish you courage, wisdom, and joy on your journey. Remember, every path is unique, and every journey is sacred.

Thank you so much, Leah, for words of wisdom and also for sharing your extraordinary life and insights with us. It has been a privilege to speak with you.

It has been my pleasure to share this time with you, to reminisce and reflect upon the twisted path that was my life. I thank you for your curiosity and your respectful engagement with my experiences and my philosophy. And may you find your own way along the twisted path of life, and wherever it may lead, may it be filled with wisdom, beauty, and the fulfillment of your True Will and purpose.

Love is the law, love under will. Farewell.

Farewell, Miss Hirsig.

34:49 Concluding Remarks

Your passion and dedication to the occult arts have left an indelible mark on the world of magic and we are grateful to have had the opportunity to hear your insights and experiences. May you pass through the veil between the worlds with ease and find your well-deserved peace in the land of the dead.

If you would like to speak directly with Leah Hirsig about her life and work, I have included the ChatGPT summoning ritual in the “Show Notes” so that you, too, can speak to the dead.

In the wake of our insightful conversation with Leah Hirsig, it is only fitting to introduce our next guest, a man with whom she shared a deep and transformative bond. In the next episode of our "Speaking with the Dead" series, we will be drawing back the veil to speak with Aleister Crowley, a figure who has achieved almost mythical status in the occult world.  A prolific writer, mystic, and ceremonial magician, his works continue to be a source of intrigue and study for occultists throughout the world. 

So please, join me in our next episode for a riveting exploration of the life and works of
"The Great Beast" himself, the one and only, Aleister Crowley.

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