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Infernal Geometry and the Left-Hand Path: The Magical System of the Nine Angles
A comprehensive guide to the history and practice of Angular Magic • Details the development of the magical system of the Nine Angles by the Church of Satan and the Temple of Set, as well as its internal body, the Order of the Trapezoid • Analyzes the 3 key rites of Angular Die Elektrischen Vorspiele, the Ceremony of the Nine Angles, and the Call to Cthulhu • Explores historical influences on Angular Magic, including Pythagorean number mysticism, John Dee’s Enochian magic, and the writings of H. P. Lovecraft • Includes practical examples, daily practices, and guidance on creating your own rituals Revealing the magical uses of number and geometry as tools for introspection, self-development, and creating change in both the inner and outer worlds, Toby Chappell explores the rites, history, and potent practices of Angular Magic and Infernal Geometry, the Left-Hand Path of Sacred Geometry. Focusing on the advanced magical system of the Nine Angles, he details the system’s development by the early Church of Satan and later the Temple of Set, as well as its internal body, the Order of the Trapezoid. He shows how the system first emerged in the Ceremony of the Nine Angles, written by Michael Aquino and published in Anton Szandor LaVey’s The Satanic Rituals. He explores historical influences on Angular Magic, including Pythagorean number mysticism, John Dee’s Enochian magic, the theories of William Mortensen, and, most importantly, the writings of H. P. Lovecraft as well as other contributors to his Cthulhu mythos. The author analyzes the 3 key rites of Angular Die Elektrischen Vorspiele, the Ceremony of the Nine Angles, and the Call to Cthulhu, expanding upon them to demonstrate how readers can craft their own rituals. He examines the Nine Angles individually, detailing their keywords, powers, and related deities, and explains how each can be used in magical practices and as part of an ongoing initiatory process. He offers practical examples, including use of Angular Magic in divination, sigils, and magical symbols, and guidance on creating your own practices--a core component of the ever-evolving Left-Hand Path. Offering a self-directed path of magic and empowerment, previously unavailable to those outside the Temple of Set, Chappell shows how the Nine Angles must be worked with and experienced personally in order to effect true transformation and change.
342 pages, Kindle Edition
Published May 21, 2019
25 people are currently reading
183 people want to read
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Displaying 1 - 8 of 8 reviews
June 20, 2019
A unique but very much niche book.
What I liked
Well written and laid out.
A wealth of information which was relevant to the topic of the book.
What I didn't like
Requires advanced reading comprehension skills that may turn the average reader off the book.
The topic of the book may be too niche.
Takeaway
Infernal Geometry is the type of book that I both love and hate; It's a fresh, well-written book on a very specific occult art. It's so specific, in fact, that leads me to wonder who's going to read it. I definitely think it's worth a read, but the subject of the book may be of no interest to most.
What I liked
Well written and laid out.
A wealth of information which was relevant to the topic of the book.
What I didn't like
Requires advanced reading comprehension skills that may turn the average reader off the book.
The topic of the book may be too niche.
Takeaway
Infernal Geometry is the type of book that I both love and hate; It's a fresh, well-written book on a very specific occult art. It's so specific, in fact, that leads me to wonder who's going to read it. I definitely think it's worth a read, but the subject of the book may be of no interest to most.
November 12, 2024
The book has some really interesting information regarding magical practice with a Cthulhu Mythos setting. The book is built around the idea of the Nine Angles, as developed in the Ceremony of The Nine Angles, included in The Satanic Rituals and angular time (a concept taken from Frank Belknap Long's story The Hounds of Tindalos). According to the author, this was practiced at a time in the Church of Satan, and after the split between CoS and The Temple of Set, it became part of their practice as they took the magical and occult philosophy from the Church of Satan, as it became an 'atheist religion'.
While I'm not fond of many of the contributors in the book for their political views, I think it's worth the time to give it a look
While I'm not fond of many of the contributors in the book for their political views, I think it's worth the time to give it a look
April 7, 2021
Incredible book, different, powerful, and informative. If you're looking for a book that proposes a different paradigm working on the Left-Hand Path, this book could be for you. It has a historical part, necessary to understand the magick of the Trapezoid, but also has a lot of rituals and advice in which you can work in your own way with this complex but fascinating angular magick.
July 14, 2020
I'm not going to lie, this book was out of my skill range but I love the fact that the author had the guts to write it and make it available for public reading!
October 16, 2025
This book is a compact exposition of different types of magical rituals and their theoretical underpinnings, both in terms of language and graphics. With regards to the former, the author espouses a semiotic theory of magic as opposed to the sympathetic one so well known from various of depictions of primitives. Semiotically based magic inserts itself between the phrase types "object" and "indirect object" with the goal of reversing automatised patterns of behaviour and perception. In this context, the function of a fetish or an idol is to be loaded with a performative phrase which acquires force through the construction of a ritual chamber isolated from ordinary reality. Ritual chamber is basically a place where you are the judge and your word is law: the idea is to construct something where words can reverberate as heavily as the proclamations of the judge. The fetish, or deity, is something that is taken out of the the ritual isolation into the real world, where you can then optimally invoke it at will, as opposed to evoking its character in the ritual space. The result of the invocation is, in its extreme ideality, that you become possessed by the entity which you have named, bypassing the conscious process of thought that stands in the way of the full realisation of its contents. The result is an interesting if potentially unstable duality of control and possession, ego-inflation and submission of the unity of one's rational mind. However, its strongest selling point is probably the fact that living as we do in a society of simulation, it is better to try to do it yourself rather than via the normalised pathways of media which are in themselves types of ritual chambers.
The concept of ritual chamber takes on a fascinating, modern resonance in this work, quite distinct from the usual imagery of the occult which draws heavily on the ancient. While the movement depicted does not suicidally detach itself from tradition, it does not seem content in wallowing in it either. LaVey's rituals heavily involved the aesthetics of modern technology and electricity so as to load the atmosphere of the ritual space: both literally and figuratively, in this case. The author terms it the "mad science" aesthetic, which I found really cool. It all seems to tie together in what Lorraine Daston and Peter Gallison called the rise of "mechanical objectivity" in science and its tension with the older ideal of a genius uncovering the secret, consciously idealised patterns of nature. Mechanical objectivity, by contrast, demands impersonality and isolation: nothing must be modified and everything must be recorded. I think you can fruitfully read philosophical giants such as Arthur Schopenhauer and Immanuel Kant against this tension, the former representing a romantic reaction and the latter representing an attempt to merge natural teleologies with the emerging Newtonian world-view. This division was multi-faceted, playing out in philosophy as well as anthropology; humanism came to be identified with teleological interpretations of history with an European slant, while increasing study of uncovered primitive tribes became dominated by proponents of mechanical objectivity, as these new discoveries did not support the idea of a teleology for all of humanity and they sought for knowledge that would be universally valid for everyone. Instead of textual exegesis, their favourite method of displaying information was a dry visual catalogue of objects without comment in a chamber-like scientific "museum" space. In this context, it is worth mentioning that through phrenology even human beings of various tribes became enmeshed in this battleground as liminal zones of object-hood, their graves being routinely robbed for purposes of studying their skulls. This aesthetic carries over to the general template of Gothic cinema such as Frankenstein, which unites objectivist mad science aesthetic with the preoccupation with the dead and the macabre side of science such as body snatching, much like LaVey intentionally embraced macabre imagery in addition to his preoccupation with mad science.
The notion of the objectively isolated chamber reaches its self-defeating apex in the 20th century developments of modern micro-physics and instruments like bubble chambers where you really look for patterns rather than object. Daston and Galison named this type of scientific activity trained judgement. It is something that is at the heart of Horkheimer's melancholic analyses of the end of Enlightenment: application of models gains a victory over a notion of truth, whether it be the hard-nosed objectivism of the 19th century or the higher vision of Nature sought by the Enlightenment. All the while the author was talking about these ritual chambers isolated from ordinary reality, I kept involuntarily thinking of bubble chambers and cloud chambers like the one at CERN. They retain of the objectivity its form of isolation and detachment from the "lifeworld" but lose the actual object: if objectivity was truth-to-nature hollowed by the double reflection of camera, these pattern-detection chambers are like taking picture of a mirror, metaphorically speaking (referring also another review). This has some interesting implications for magic since constructing a bubble chamber is really affordable, you can learn how to do it on CERN's website even. These aspects can then be incorporated into one's own magical chamber with low budget for purposes of evocation of entities. It could be advantageous to partially frame it as doing science experiments by yourself by constructing a mythology that justifies certain types of patterns and short-circuiting conventional thought in this way. After this observation, you could merely look at the "mathematical"(or whatever) formula and invoke the full intention of the moment of the scientific observation and become possessed by it in a controlled way.
In fact, it seems that to some degree the ritual chamber and the modern scientific chamber fulfil the requirements of Kantian sovereignty: all one perceives are one's own laws. One sees himself in the scientific chamber. You can't lie inside the ritual chamber, it seems to be impossible. Your declarations can no longer be "true" or "untrue" but just according to law (the model) or not. It must be said, though, that while any model can be a law, treating it as a law is much different than just treating it as a model because the models can exist in a kind of mutual incoherence justified by conformism while the law is ultimate totality of a certain system of knowledge as it relates to others which totally exclude it. So it's a kind of fine line between a faux-liberatory "whatever works" attitude and seriously taking into account the lawlike nature of perceptions. It seems that this is where some tricky aspects of the LHP emerge: for starters, it surely goes against the narrative that Kant would be a LHP figure yet...? Additionally, the goal is always to actualize one's intent through the semiotic mechanism. But one could propose a maxim: knowledge conditions intent and intent conditions knowledge which complicates the relationship and the idea of "what are we actually doing here" somewhat. Obscurely, a quote from a great Lovecraftian horror movie Event Horizon springs to mind: Where we're going, we won't need eyes to see.
If in this way we could find in Kant an unlikely exemplary of the semiotic process of magic described here, what about the graphical side? The pictorial representation of the relation between the semiotic and the mechanical-causal is achieved via the figure that combines the polygons trapezoid and pentagram, corresponding the angles of the trapezoid with Lovecraftian deities and the angles of the pentagram with the actions of humanity. This figure is placed inside a circle which represents the curved time which corresponds to the deterministic vision of Einstein's space-time curvature. By contrast, the angled time corresponds to what the author calls the subjective realm and what could also be called the realm where the semiotic process of magic takes place. Circular time and linear time are both seen as two sides of the same coin with regards to the angular time. These processes run by different types of logic, with the pentagram jumping between vertex points of the trapezoid in a non-linear fashion while in curved time they're both lumped together in relative linearity on the circle. It's worthwhile to point out that even the pentagram is not an arbitrary symbol: probably it has the status it has due to the fact that it is a 2-dimensional projection of 5-cell. This means the figure of the pentagram corresponds with accessing the sephirot of the Tree of Life, since observing the commonalities of a 5-cube and the Tree one can easily see that sephirot correspond to the 10 4-faces of the 5-cube, man himself being a 5-cube if it is true that Kabbalah describes the anatomy of man. Granted, it is only partial segments of the 4-faces that you can access, which means that the sephirot should be divided into parts somehow. Not to go into this in too much detail, suffice to say that I found this system interesting and would recommend reading this book if only for that. There are all these connection or access points between the systems that you can study. It is all very clearly and unpretentiously explained, with just the right amount of repetition.
To connect this system to another philosophical figure mentioned, Schopenhauer, one could say that the angular time has to do with the dynamics of the Will as opposed to the mechanics of the causal world. While Schopenhauer presents his view of the Will in unapologetic terms, identifying it with Kant's thing-in-itself, his overall take on it would probably be considered to represent the Right Hand Path rather than the Left Hand Path. This is because the author identifies systems which emphasise fate and history as RHP and in Schopenhauer's philosophy we are stuck with being expressions of a purely impersonal Will: the best we can do is reach a metanoia moment of unity where we see that hurting others is the same as hurting ourselves because we are all the same Will defined by conflict and strife. Even Nietzsche doesn't fare any better with LHP credentials, even if he's name-dropped by someone in this book: after all, his major themes were amor fati and reducing everything to instinct. Again, paradoxically, it seems that that supposed anal moralist Kant appears as a major LHP figure in this company! Another philosopher that best seems to exemplify a LHP-notion is Jean-Paul Sartre, whose book Transcendence of the Ego basically discovers the semiotic process described above and connects it to sorcery. It's whatever, though, because as Crowley said: science is always discovering odd scraps of magical wisdom and making a tremendous fuss about its cleverness, and this applies perhaps even more to philosophy!
What also makes this different from Schopenhauer is that in Schopenhauer Will still appears like some kind of an incontestable monolithic force, while here is an actual attempt to tread the line of systematizing it so as to make actual connections between everyday reality and the law, or the Will. It falls neither in the trap of reifying the apparently transcendent nor to the mire of immediacy that insists upon itself. Obviously, though, one might wonder about arbitrariness: isn't all the Lovecraftian stuff...silly? By falling into the trap of this attitude one only reveals one's own schoolboy level mindset rather than anything about the Mythos. We get it, you're an ADULT now. Lazy response would be: it's as arbitrary as anything else. Little less lazy: its absurd endurance proves something about it. Personally, I think it's fair to say that Lovecraft's success must be largely explained by the Mythos rather than any spectacular writing skills. Without these particular elements expanding to ever-growing body of self-sustaining mythology, it would be just another ignorable pulp fiction, or something even lower. He also embodies a kind of shift in religious attitude to an unprecedented mode: it is still early to say whether he was a prophet of a new religion, but it might well be true. People seem to often confuse an existentialist crisis with what would more accurately be called a Lovecraftian crisis: the "I am nothing but a lump of matter in an infinite black universe". The bleakness of his over-arching "theological" vision rivals that of the Jews but with decidedly different emphases. Lovecraft responds to the problem of tyranny with the horrible realization of indifference, whereas the Jewish vision suggests a cruel god that takes sadistic pleasure in human suffering. While at first sight it would seem that the Jewish vision is bleaker, one must remember that you can bargain with evil, while stupidity can't be reasoned with. The highest god of Lovecraftian mythos is Azathoth, the blind idiot God who will not make any kinds of bargains with anyone nor take any interest in anything. The fact that you were born and suffered is not cruel, it is only stupid. Life is so stupid you can't really even say anything about it. In this sense, Lovecraft could be said to have presented a new theology that combines the bleakness of the Jewish vision with the blunt immediacy of a let's-say Parmenidean vision of pure Being, in a vision that transcends either of them. It is, then, a religious category that invites perplexed contemplation but which is something more than either Athens or Jerusalem.
The idea that you can't say anything about anything in a deep, meaningful sense is a crisis that runs throughout modern thought, emphasized in figures like E.M. Cioran. Sure, one can fall back on conventionalism but even that will bite you in the back, like the Hounds of Tindalos, the guardians of the dimensions of strange angles in the fictional work of Frank Belknap Long, on which many concepts in this book are based. This instigates either completely embracing existence in the world of the shells, where nothing means anything and nobody can be trusted but where the approval of others is still the ultimate currency, perhaps precisely on account of its magnetic lack of value. But the (Setian) hounds are companions rather than enemies to those who don't fall back to conventionalism but create connection points between angular and curved time to surge energy that perhaps helps to uncover new types of visions and relations that better accommodate the stupidity of existence by allowing the alternate logic of the angles to manifest (reality moving at the speed of thought) instead of merely enacting the stupidity over and over by teleologies whose disavowal of it is one of its fundamental essences, as the effect of the comical is always proportional to the degree to which it is taken seriously by the object of laughter.
The concept of ritual chamber takes on a fascinating, modern resonance in this work, quite distinct from the usual imagery of the occult which draws heavily on the ancient. While the movement depicted does not suicidally detach itself from tradition, it does not seem content in wallowing in it either. LaVey's rituals heavily involved the aesthetics of modern technology and electricity so as to load the atmosphere of the ritual space: both literally and figuratively, in this case. The author terms it the "mad science" aesthetic, which I found really cool. It all seems to tie together in what Lorraine Daston and Peter Gallison called the rise of "mechanical objectivity" in science and its tension with the older ideal of a genius uncovering the secret, consciously idealised patterns of nature. Mechanical objectivity, by contrast, demands impersonality and isolation: nothing must be modified and everything must be recorded. I think you can fruitfully read philosophical giants such as Arthur Schopenhauer and Immanuel Kant against this tension, the former representing a romantic reaction and the latter representing an attempt to merge natural teleologies with the emerging Newtonian world-view. This division was multi-faceted, playing out in philosophy as well as anthropology; humanism came to be identified with teleological interpretations of history with an European slant, while increasing study of uncovered primitive tribes became dominated by proponents of mechanical objectivity, as these new discoveries did not support the idea of a teleology for all of humanity and they sought for knowledge that would be universally valid for everyone. Instead of textual exegesis, their favourite method of displaying information was a dry visual catalogue of objects without comment in a chamber-like scientific "museum" space. In this context, it is worth mentioning that through phrenology even human beings of various tribes became enmeshed in this battleground as liminal zones of object-hood, their graves being routinely robbed for purposes of studying their skulls. This aesthetic carries over to the general template of Gothic cinema such as Frankenstein, which unites objectivist mad science aesthetic with the preoccupation with the dead and the macabre side of science such as body snatching, much like LaVey intentionally embraced macabre imagery in addition to his preoccupation with mad science.
The notion of the objectively isolated chamber reaches its self-defeating apex in the 20th century developments of modern micro-physics and instruments like bubble chambers where you really look for patterns rather than object. Daston and Galison named this type of scientific activity trained judgement. It is something that is at the heart of Horkheimer's melancholic analyses of the end of Enlightenment: application of models gains a victory over a notion of truth, whether it be the hard-nosed objectivism of the 19th century or the higher vision of Nature sought by the Enlightenment. All the while the author was talking about these ritual chambers isolated from ordinary reality, I kept involuntarily thinking of bubble chambers and cloud chambers like the one at CERN. They retain of the objectivity its form of isolation and detachment from the "lifeworld" but lose the actual object: if objectivity was truth-to-nature hollowed by the double reflection of camera, these pattern-detection chambers are like taking picture of a mirror, metaphorically speaking (referring also another review). This has some interesting implications for magic since constructing a bubble chamber is really affordable, you can learn how to do it on CERN's website even. These aspects can then be incorporated into one's own magical chamber with low budget for purposes of evocation of entities. It could be advantageous to partially frame it as doing science experiments by yourself by constructing a mythology that justifies certain types of patterns and short-circuiting conventional thought in this way. After this observation, you could merely look at the "mathematical"(or whatever) formula and invoke the full intention of the moment of the scientific observation and become possessed by it in a controlled way.
In fact, it seems that to some degree the ritual chamber and the modern scientific chamber fulfil the requirements of Kantian sovereignty: all one perceives are one's own laws. One sees himself in the scientific chamber. You can't lie inside the ritual chamber, it seems to be impossible. Your declarations can no longer be "true" or "untrue" but just according to law (the model) or not. It must be said, though, that while any model can be a law, treating it as a law is much different than just treating it as a model because the models can exist in a kind of mutual incoherence justified by conformism while the law is ultimate totality of a certain system of knowledge as it relates to others which totally exclude it. So it's a kind of fine line between a faux-liberatory "whatever works" attitude and seriously taking into account the lawlike nature of perceptions. It seems that this is where some tricky aspects of the LHP emerge: for starters, it surely goes against the narrative that Kant would be a LHP figure yet...? Additionally, the goal is always to actualize one's intent through the semiotic mechanism. But one could propose a maxim: knowledge conditions intent and intent conditions knowledge which complicates the relationship and the idea of "what are we actually doing here" somewhat. Obscurely, a quote from a great Lovecraftian horror movie Event Horizon springs to mind: Where we're going, we won't need eyes to see.
If in this way we could find in Kant an unlikely exemplary of the semiotic process of magic described here, what about the graphical side? The pictorial representation of the relation between the semiotic and the mechanical-causal is achieved via the figure that combines the polygons trapezoid and pentagram, corresponding the angles of the trapezoid with Lovecraftian deities and the angles of the pentagram with the actions of humanity. This figure is placed inside a circle which represents the curved time which corresponds to the deterministic vision of Einstein's space-time curvature. By contrast, the angled time corresponds to what the author calls the subjective realm and what could also be called the realm where the semiotic process of magic takes place. Circular time and linear time are both seen as two sides of the same coin with regards to the angular time. These processes run by different types of logic, with the pentagram jumping between vertex points of the trapezoid in a non-linear fashion while in curved time they're both lumped together in relative linearity on the circle. It's worthwhile to point out that even the pentagram is not an arbitrary symbol: probably it has the status it has due to the fact that it is a 2-dimensional projection of 5-cell. This means the figure of the pentagram corresponds with accessing the sephirot of the Tree of Life, since observing the commonalities of a 5-cube and the Tree one can easily see that sephirot correspond to the 10 4-faces of the 5-cube, man himself being a 5-cube if it is true that Kabbalah describes the anatomy of man. Granted, it is only partial segments of the 4-faces that you can access, which means that the sephirot should be divided into parts somehow. Not to go into this in too much detail, suffice to say that I found this system interesting and would recommend reading this book if only for that. There are all these connection or access points between the systems that you can study. It is all very clearly and unpretentiously explained, with just the right amount of repetition.
To connect this system to another philosophical figure mentioned, Schopenhauer, one could say that the angular time has to do with the dynamics of the Will as opposed to the mechanics of the causal world. While Schopenhauer presents his view of the Will in unapologetic terms, identifying it with Kant's thing-in-itself, his overall take on it would probably be considered to represent the Right Hand Path rather than the Left Hand Path. This is because the author identifies systems which emphasise fate and history as RHP and in Schopenhauer's philosophy we are stuck with being expressions of a purely impersonal Will: the best we can do is reach a metanoia moment of unity where we see that hurting others is the same as hurting ourselves because we are all the same Will defined by conflict and strife. Even Nietzsche doesn't fare any better with LHP credentials, even if he's name-dropped by someone in this book: after all, his major themes were amor fati and reducing everything to instinct. Again, paradoxically, it seems that that supposed anal moralist Kant appears as a major LHP figure in this company! Another philosopher that best seems to exemplify a LHP-notion is Jean-Paul Sartre, whose book Transcendence of the Ego basically discovers the semiotic process described above and connects it to sorcery. It's whatever, though, because as Crowley said: science is always discovering odd scraps of magical wisdom and making a tremendous fuss about its cleverness, and this applies perhaps even more to philosophy!
What also makes this different from Schopenhauer is that in Schopenhauer Will still appears like some kind of an incontestable monolithic force, while here is an actual attempt to tread the line of systematizing it so as to make actual connections between everyday reality and the law, or the Will. It falls neither in the trap of reifying the apparently transcendent nor to the mire of immediacy that insists upon itself. Obviously, though, one might wonder about arbitrariness: isn't all the Lovecraftian stuff...silly? By falling into the trap of this attitude one only reveals one's own schoolboy level mindset rather than anything about the Mythos. We get it, you're an ADULT now. Lazy response would be: it's as arbitrary as anything else. Little less lazy: its absurd endurance proves something about it. Personally, I think it's fair to say that Lovecraft's success must be largely explained by the Mythos rather than any spectacular writing skills. Without these particular elements expanding to ever-growing body of self-sustaining mythology, it would be just another ignorable pulp fiction, or something even lower. He also embodies a kind of shift in religious attitude to an unprecedented mode: it is still early to say whether he was a prophet of a new religion, but it might well be true. People seem to often confuse an existentialist crisis with what would more accurately be called a Lovecraftian crisis: the "I am nothing but a lump of matter in an infinite black universe". The bleakness of his over-arching "theological" vision rivals that of the Jews but with decidedly different emphases. Lovecraft responds to the problem of tyranny with the horrible realization of indifference, whereas the Jewish vision suggests a cruel god that takes sadistic pleasure in human suffering. While at first sight it would seem that the Jewish vision is bleaker, one must remember that you can bargain with evil, while stupidity can't be reasoned with. The highest god of Lovecraftian mythos is Azathoth, the blind idiot God who will not make any kinds of bargains with anyone nor take any interest in anything. The fact that you were born and suffered is not cruel, it is only stupid. Life is so stupid you can't really even say anything about it. In this sense, Lovecraft could be said to have presented a new theology that combines the bleakness of the Jewish vision with the blunt immediacy of a let's-say Parmenidean vision of pure Being, in a vision that transcends either of them. It is, then, a religious category that invites perplexed contemplation but which is something more than either Athens or Jerusalem.
The idea that you can't say anything about anything in a deep, meaningful sense is a crisis that runs throughout modern thought, emphasized in figures like E.M. Cioran. Sure, one can fall back on conventionalism but even that will bite you in the back, like the Hounds of Tindalos, the guardians of the dimensions of strange angles in the fictional work of Frank Belknap Long, on which many concepts in this book are based. This instigates either completely embracing existence in the world of the shells, where nothing means anything and nobody can be trusted but where the approval of others is still the ultimate currency, perhaps precisely on account of its magnetic lack of value. But the (Setian) hounds are companions rather than enemies to those who don't fall back to conventionalism but create connection points between angular and curved time to surge energy that perhaps helps to uncover new types of visions and relations that better accommodate the stupidity of existence by allowing the alternate logic of the angles to manifest (reality moving at the speed of thought) instead of merely enacting the stupidity over and over by teleologies whose disavowal of it is one of its fundamental essences, as the effect of the comical is always proportional to the degree to which it is taken seriously by the object of laughter.
March 9, 2022
This book has a lot of valuable information, those some of it does seem like a reach. I can ignore that and just have fun reading the content, but this was a very pretentious read for me. There was a lot of purple prose instead of just getting to the point. Otherwise, I would definitely recommend!
February 18, 2020
An informative, fascinating read that is going to send me down many new rabbit holes in terms of Self-work.
November 15, 2021
Too abstruse to comprehend easily.
Displaying 1 - 8 of 8 reviews