28 October 2019

"A groundbreaking exhibition finally tells the stories of Native women artists"


by Jeffrey Brown

[I’ve occasionally covered Native American arts and culture on Rick On Theater and also women in the arts.  Now comes Jeffrey Brown’s “Canvas” report on the PBS NewsHour of 18 October 2019 on the Minneapolis Institute of Art’s recent exhibit, Hearts of Our People: Native Women Artists, which combines both subjects for the first such art show in the country.

[Articles posted in ROT covering Indian and First Nations subjects include “Pudlo Pudlat, Inuit Artist,” 28 September 2009; “‘May You Be Blessed With Light’: The Zuni Shalako Rite,” 22 October 2010; “Fritz Scholder,” 30 March 2011; “Inuksuit,” 10 August 2011; “Frank Waters,” 4 May 2012; “Taos & Taos Pueblo,” 24 and 27 May 2012; “‘My Mind Restore For Me’: Navajo Healing Ceremonies,” 15 May 2013; “The Ghost Dance of the Plains Indians,” 5 July 2014; “Art by Indigenous Peoples,” 5 January 2018; the American Theatre series “Staging Our Native Nation,”, 24 March-8 April 2018; the PBS NewsHour report “Native American Imagery Is Everywhere But Understanding Lags Behind’” by Jeffrey Brown  13 April 2018; and the New York Times article “Showcasing The Range Of Indigenous Performance’” by Siobhan Burke, 5 January 2019; and those about women in the arts are: another PBS NewsHour story, “The Festival Where Being A Female Playwright Isn’t A Rarity” by Jeffrey Brown, 28 April 2018; “Women Playwrights of the ’80s,” 21 December 2018; and “Some Women Writers from the Archives,” 10 July 2019.  My report on Akunnittinni: A Kinngait Family Portrait, an exhibit at the New York branch of the National Museum of the American Indian, posted on 15 January  2018, treats both issues in a sense.]

“Hearts of Our People” is the country’s first ever exhibition devoted solely to the works of Native American women. The Minneapolis Institute of Arts assembled the retrospective, which is currently at Nashville's Frist Art Museum and will visit Tulsa and Washington, D.C., in 2020. Jeffrey Brown reports on how the show brings attention to a realm previously “not at all addressed in the art world.”

Judy Woodruff: And now a look at an art show that is both making history and teaching it.

Hearts of Our People: Native Women Artists is the country's first ever exhibition devoted solely to the works of Native American women.

Jeffrey Brown traveled to Minnesota and New Mexico to meet with some of the team behind the retrospective.

It's part of our ongoing arts and culture series, Canvas.

Jeffrey Brown: How many artists have a master's in fine arts and studied auto mechanics?

Meet Rose Simpson, whose day of making art includes hours coiling clay in her studio, soldering metal pieces for sculptures in her garage, and spending time under the hood of a 64 Buick Riviera she's fixing up.

Simpson lives and works on the Santa Clara Pueblo just outside Espanola, New Mexico. Her mother, Roxanne Swentzell, is a ceramicist, as was her mother, a tradition through time.

Rose Simpson: I come from a long, long line of artists and creative people. And long line, I mean, like, as far as you can go back.

Jeffrey Brown: You're not talking about 10 or 20 years. You're talking about hundreds.

Rose Simpson: Yes, I'm talking about hundreds, possibly thousands.

Jeffrey Brown: Continuity and seeing art as part of daily life.

Simpson's work is a contemporary take on the traditions of her Santa Clara Tewa ancestors. And now she's part of a groundbreaking exhibition, the first of its kind dedicated to more than 1,000 years of artistic achievements by Native American women.

Put together by the Minneapolis Institute of Arts, where we saw it, the exhibition is called Hearts of Our People.

Jill Ahlberg Yohe: Seeing these works of art together.

Jeffrey Brown: Co-curator Jill Ahlberg Yohe:

Jill Ahlberg Yohe: This exhibition was really necessary in a non-Native context, because it had never been explored before. And that was stunning, because something that is so clear in Native communities wasn't at all addressed in the art world.

Jeffrey Brown: On display, some 117 works of art from more than 50 Native American communities across the U.S. and Canada. There are traditional pieces, like this Anishinaabe jingle dress created in 1900 and worn for dancing at powwows, and a Hohokam bowl dating back to 1,000 A.D.

There's also contemporary photography, video and installation pieces, like Fringe, a 2007 piece by Rebecca Belmore tackling the issue of violence against Native people, particularly women.

Whenever possible, the creators of these works are named. Rather than generic craftspeople, the exhibition wants us to see creative individuals making art.

Jill Ahlberg Yohe: I think that the way — that the development of collecting Native American art and the stories that had previously been told are ones that position Native women as non-artists.

Jeffrey Brown: Contemporary artists are shown alongside those of their ancestors, highlighting the way Native women's art has adapted, while remaining connected to generations past.

One example? This towering stack of blankets by Seneca artist Marie Watt entitled Blanket Stories, displayed next to a traditional Navajo chief's blanket from the 1880s.

And then there's Rose Simpson's piece, a restored 1985 Chevrolet El Camino she named Maria. Sitting at the show's entrance, it's paired with a large vase by the car's namesake, Maria Martinez, the celebrated pioneer of the black-on-black Pueblo pottery style emulated in the car's paint job.

But a car as art? Rose Simpson made Maria herself, to use, to drive. Plus, she realized it holds things, just like some of her other creations.

Rose Simpson: It hit me like, pew, it's a pot. It is a super contemporary vessel.

This is why there is no disconnect between life and art.

Jeffrey Brown: No disconnect?

Rose Simpson: No.

And this is — what does art have to do with cars? I'm like, what does art have to do with life? What does life have to do with art?

The point is that we have ripped art away from our lives. And so the more I could apply the creative process to every part of my life, then the stronger I felt as a person.

Jeffrey Brown: Given the show's size and scope, Jill Ahlberg Yohe and co-curator Teri Greeves knew they could not put it together alone. They assembled an advisory board of scholars, historians and artists, 21 women in total, Native and non-Native.

Dyani White Hawk: The work is indigenous, truly indigenous art form.

Jeffrey Brown: Among the advisers, Dyani White Hawk of the Rosebud Sioux Tribe, a painter and mixed media artist based in Minneapolis.

Dyani White Hawk: This exhibit covers 1,000 years.

Jeffrey Brown: Yes.

Dyani White Hawk: Still, it was so hard to pick the pieces that were going to go in the show, because there's so many that could be.

Jeffrey Brown: White Hawk's work mixes modern techniques with traditional Lakota artforms like bead and quill work. She says the recognition of Native women artists is long overdue.

Dyani White Hawk: The vast majority of Native arts has been supported by women over generations, but it's an aside. It's a side note in the way that we understand and look at American art history.

And it's not a truthful and honest way to understand the history and artistic history of this land.

Jeffrey Brown: Rose Simpson also served on the museum's advisory board. For her, being in the show is an opportunity to open doors for other Native American artists.

Rose Simpson: It's absolutely about changing a mind-set. The first step is to infiltrate and then get respect, and then pull it back the other way.

I was handed this — the baton, right? And I have to go further and really respect it and be responsible with it.

Jeffrey Brown: And she's choosing to remain in her rural home, where she's passing on an ancient artistic tradition to her own daughter.

For the "PBS NewsHour," I'm Jeffrey Brown on the Santa Clara Pueblo in New Mexico.

[Hearts of Our People was at the Minneapolis Institute of Art (the museum’s correct name)  from 2 June to 18 August 2019.  It will be at the Frist Art Museum in Nashville from 27 September 2019 to 12 January 2020; Washington, D.C.’s Smithsonian American Art Museum, 21 February-17 May 2020; and the Philbrook Museum of Art, Tulsa, Oklahoma, 28 June -20 September 2020.  The exhibit’s catalogue, edited by Jill Ahlberg Yohe and Teri Greeves, has been published by the University of Washington Press (2019).]

23 October 2019

"Winning On Stage: The secret weapon for winning auditions: 'Periodization'"

by Dr. Don Greene

[On 6 May, I republished an article from  Allegro, the member’s magazine of Local 802 of the American Federation of Musicians, called “Eight Strategies for Breaking Out of a Performance Slump” by Dr. Noa Kageyama, a sports psychologist and musician.  As the title states, it lays out some strategies for musicians to break out of a streak of poor performances.  Reading the article, I realized that Dr. Kageyama’s advice is valid for all performers, including actors.  So I posted her advice with inserted commentary concerning my own experience as an actor or stories I heard from colleagues in the biz.

[In the October 2019 issue of Allegro (vol. 19, no. 9), Dr. Don Greene, sports psychologist and stress coach, published an article with tips on succeeding at auditions.  Once again, the author is writing for and about musicians—Allegro is a musicians’ magazine, after all—but I can see that it’s applicable to actors, dancers, and singers.  (Dr. Greene’s bio indicates that he’s worked with Olympic athletes as well as musicians.)  So I’m posting “The Secret Weapon for Winning Auditions” on Rick On Theater for actors (and other performers) to consider.  We can all use help getting through auditions and, as Dr. Greene puts it, “winning” them.]



Do you ever find yourself peaking for your audition too early or too late? Do you feel yourself drained of energy before you even get to the audition? Or are you feeling so mentally and physically fatigued that you aren’t even motivated to prepare?

If so, you are reading the right article! There is a secret weapon that I teach called periodization, and it has been a game changer for all of my audition-winning clients. This periodization process involves training cycles with four distinct phases: preparation, tapering, execution and recovery. Periodization is designed to peak the performer’s energy at just the right time (like during the finals) in order to win.

Preparation phase

There is a lot of great information on the internet about various approaches to winning auditions. Most of the websites and blogs are by musicians who have won orchestral auditions themselves. These authors are emphasizing the physical, technical, organizational, and musical aspects of the audition preparation and actual audition performance. They usually address only the first phase of the periodization process: preparation.

Preparation involves both physical and mental work. The physical includes the organization of practice, technical work, listening, score study, mock-auditions, etc. The mental preparation includes centering practice, mental rehearsal or visualization, and concentration exercises. Long before their auditions, I have my clients complete a thorough assessment of their mental performance skills. We measure their abilities in five main areas: performance energy, confidence, courage, focus and resilience. After determining their individual mental strengths and weaknesses they can begin working specifically in the area(s) where they will make the most improvement in the least amount of time.

The mental training, which can replace some of the physical practice time, involves the centering process and positive affirmations. Centering helps control and channel performance energy before and during the audition process. The affirmations help to build self-confidence. Concentration exercises help musicians to focus past distractions and quiet the mind. They also learn how to become mentally tough and to recover quickly from inevitable mistakes. I don’t believe in perfectionism, especially at auditions. The idea is to continually strive for excellence which means doing your best under any circumstance.

Tapering phase

A few days prior to an audition, it is time to begin the second phase of the training cycle, which is the all-important tapering process. At this point you need to spend less time physically practicing as you increase your mental training even more, and begin to get more sleep and rest. In the last week before the audition it’s too late to cram (although many musicians do). If you don’t have all the excerpts or technical skills down by now you’re probably not going to master them in the next few days. If you try to do so, it will be counter-productive.

Instead of fretting over musical things or playing through the excerpt list one more time, there are better things to do. Believe it or not, I often recommend sleeping in, taking short power naps (20 minutes), watching comedy, doing a mental rehearsal session, or having lunch with a good friend (either a non-musician or a friend who promises there will be no audition talk!). In the last few days, the idea is to stay positive and mellow as you bide your time wisely and build up your energy. This is not easy for most musicians who are used to years of constant physical practice. Although you cannot win in the days leading up to an audition, you can lose!

In addition to maintaining the right mindset and conserving energy, it’s important that you carefully manage your heightened emotions in the final days before the audition. Due to the extra stress, many performers’ nerves get raw and they become testy or prickly, especially – and unfortunately – with those closest to them. For many musicians, the looming audition can feel as important as a matter of life or death. Keeping perspective and a sense of humor can be an immense help. Remember that your audition performance is too important to take too seriously.

The most important night of sleep is two nights before the audition. In terms of energy, there’s a one-day delay with the effects of sleep. So if the audition is on Saturday, you want to get a great night’s sleep on Thursday. Try your best to go to bed early, or sleep in, or both. If you feel very tired Friday afternoon, take a very short nap (10 to 15 minutes). After waking up I recommend that you get up, move around and get some fresh air.

The night before the audition, try to schedule dinner in the late afternoon or early evening. It’s wise to eat something that’s easy to digest, without a lot of spices. Wind down before going to bed (no exciting action movies, musical events or recordings). Turn off all musical thoughts in your head and get to bed at a reasonable time. Darken the room, lower the temperature, get into bed and find a comfortable position. If sleep doesn’t arrive within a few minutes, don’t worry. Just lie there and relax. Simply lying still provides 70 percent of the rest benefit of sleeping. Hopefully you will have been getting extra rest, naps, and had a good night’s sleep the previous night. That’s the energy you’ll be using tomorrow at the audition.

Execution phase

The third phase in the cycle is the execution phase. The first thing to do is to get up with plenty of time to get ready to do your best. I recommend arriving at the audition site early, keeping your mind on the process of what you need to do to execute a peak performance. Avoid thinking about all the possible outcomes. When they come up, just imagine your audition going well. Before walking in, summon up your courage, stay in the moment, and focus only on the task at hand. Follow your performance routine. (I have watched many clients throw their performance routine out the window the day of the audition.) Trust the process and all of your hard work, talent and training. Then go for it with everything you have!

Although many musicians try in vain to relax at auditions, I train my clients to channel that extra energy to blow away their competitors as well as the audition panel. In this process, they use a variety of peak performance skills like centering and mental rehearsal techniques. These help them do better in auditions because of the extra pressure and energy, not in spite of it. While most of their fellow musicians are trying to calm down I want my clients to get their energy up. My training teaches them how to control, channel, and peak that powerful performance energy when it really counts.

Recovery phase

After the audition, the final phase is recovery. Take some much-needed physical and mental rest away from the instrument and repertoire before you begin preparing for the next big performance or audition. Make sure that you feel fresh, rested and recovered before starting your next training cycle. Regardless of the final outcome, you need to reward yourself for the efforts you put in and the improvements that have resulted from those efforts. I suggest something tangible and permanent as a symbolic reminder of your progress.

After you recover and want to get ready for an even better performance, make good use of this four-phase cycle again. These four phases are indeed the secret weapon that I call periodization. Begin the cycle again with all the physical and mental work that needs to be done to prepare for the audition or concert. This is followed by tapering in the last days before the important event. Back off from the high level of training in order to build your energy so that you reach a peak in the execution phase at the audition or concert. Once again, you’ll deserve a few days off so you can recover – as well as another reward.

Remember to ask yourself this question: which phase of periodization do you struggle with the most when you’re getting ready for an audition or important concert? Be honest. Remember, all of the four phases affect each other and the final result. Tapering and recovery are just as important as preparation and execution!

For your next training cycle before a big performance, plan out your calendar, so you can schedule the four periodization phases.

Repeat the four phases until you begin to feel like each cycle of the periodization process has improved, as well as the results. Go for it!

[Dr. Don Greene, a peak performance psychologist, has taught his comprehensive approach to peak performance mastery at New York City’s Juilliard School; Colburn School in Los Angeles; New World Symphony in Miami Beach; Los Angeles Opera Young Artists Program; Vail Ski School; Perlman Music Program in Shelter Island; New York; and the U.S. Olympic Training Center in Colorado Springs, Colorado, and Lake Placid, New York.  During his 32-year career, he has coached more than 1,000 performers to win professional auditions and has guided countless solo performers to successful careers.  

[Some of the performing artists with whom Dr. Greene has worked have won jobs with the Metropolitan Opera Orchestra, Concertgebouw Orchestra in Amsterdam, New York Philharmonic, Chicago Symphony, San Francisco Opera, Montreal Symphony, Pittsburgh Symphony, National Symphony, Cincinnati Symphony, Pacific Northwest Ballet in Seattle, and the Dance Theatre of Harlem, to name just a few.  

[Of the Olympic track and field athletes he worked with up until and through the 2016 games in Rio, 14 won medals, including five gold.  Dr. Greene has authored 10 books including Audition Success, Fight Your Fear & Win, Performance Success, and most recently College Prep for Musicians.  In 2017, Dr. Greene was named a TED Educator and collaborated with musician Dr. Annie Bosler to produce the TED-Ed talk “How to practice effectively . . . for just about anything.”  The video went viral and received over 25 million views across Facebook and YouTube.  For more information, visit winningonstage.com, winninginsports.com, and collegeprepformusicians.com.]

18 October 2019

Dispatches from Israel 19


[Helen Kaye, my friend in Tel Aviv, sent me a pair of new reviews from her gig at the Jerusalem Post.  As usual, I’m putting them together to post as “Dispatches from Israel 19,” but this installment is a bit different from the previous 18 editions of the series. 

[In her first review below, for Tikun by Amnon Levy and Rami Danon, Helen mentions that the play is a revision of an earlier play, Tikun Hatzot, by the same authors.  I thought it would be interesting to republish the review of the original play alongside Helen’s notice of the current incarnation, just for the sake of comparison —and curiosity. 

[It turned out that Helen saw Tikun Hatzot, but hadn’t written the JP review and had no written record of the performance.  The current publisher of the Jerusalem Post decided some years ago to suspend the paper’s on-line archive, so there are no articles on file for the recent past years.  But I was in luck!  The production of Tikun Hatzot was back in 1996, before the archive was ceased, and the New York Public Library has a database of JP articles from the years before the suspension. 

[So, following Helen’s review of Tikun is Naomi Doudai’s notice of Midnight Prayer, the English title of Tikun Hatzot.  Following that notice is Helen’s recent review of another play, Dancing Lessons by U.S. playwright Mark St. Germain.]

Tikun
By Amnon Levy and Rami Danon
Directed by Rami Danon
Cameri Theater, Tel Aviv; 19 September 2019

by Helen Kaye

‘Tikun’ is one of those slippery Hebrew words that have a literal, figurative and emotive meaning, as in ‘repair’, ‘rehabilitation’ and ‘reform’ or ‘certain prayers’, all of which come into play in this production, an adaptation by the authors of their earlier Tikun Hatzot.  [I’ve transcribed the 1996 review of Tikun Hatzot, under its English title, Midnight Prayer, below Helen’s recent one.  ~Rick]

That one, like the current production was all about relationships, belonging and identity, to understand which it’s necessary to know that Ashkenazi Jews – aka Lithuanian, aka Eastern European – tend to look down upon, if not hold in contempt, their Sephardic (Mizrachi) brethren as lesser beings when it comes to the Torah world of learning. In an attempt (mostly fruitless) to mitigate this, young ultra-orthodox Sephardic Jews are sent to Lithuanian yeshivot (religious institutions of higher Jewish learning) to absorb Lithuanian learning, aka values and outlook.

Berke (Dan Shapira) is one such young man and is the pride of his Rabbi’s heart until he learns that his beloved Rabbi Shtat (Rami Baruch) intends to send only Mizrachi students to the army – they are so much the more easily dispensable. Moreover, Shtat’s casually contemptuous denigration of Berke’s Sephardic Hacham (Wise Man) Moshe (Shimon Mimran) has caused the latter formally to curse him up hill and down dale.

Now Berke, named Dib by his Moroccan-born father Pinchas (Avraham Selektar), finds himself morally adrift and unsure of who he really is or where his allegiance lies.

One supposes that the bulk of Tikun attempts to answer that question. Perhaps it tries to but never quite gets there. The play lacks a center, goes all over the place in an attempt to make all its voices heard, which only makes it the more confusing.

Which is perhaps why none of the characters seem real, despite the actors’ best efforts to make them so. Shapira brings earnestness and charm to his portrayal of Berke/Dib. Rami Baruch’s nonagarian Shtat offers a moiety of roguishness under his unbending exterior while Mimran as his Sephardic counterpart properly blusters and puffs. Selektar convinces as the simple Pinchas, a man wrenched far beyond where he thought he was going. Eran Mor obediently plays Finger, a young man first at odds with, then allied to Berke, but doesn’t give us a real hint of who or why he is. Then there’s Shlomi Avraham who deftly plays the seemingly slightly retarded Kopp, but again, why is this character here? Whom or what does he represent? Is it the uncritical obedience the Ultra-Orthodox rabbis require from their flocks? The kind of obedience that causes Berke so to flounder when he must think for himself?

The action takes place on Eran Atzmon’s bleak grey set that looks (perhaps deliberately?) more like a warehouse than a school with other venues (such as Pinchas’ home) brought on and off by the actors.

But when the play ends, what is it we’ve been watching? Does this Tikun reflect us, our society, our mores? If it does, it needs to say so.

*  *  *  *
[Below is the review, published in the Jerusalem Post on 14 May 1996 (page 7), of the performance of Tikun Hatzot, the earlier verson of the play Tikun that Helen Kaye reviewed on 19 September.  Both productions were staged at Tel Aviv’s Cameri Theater and directed by Rami Danon, the co-author of the plays.  The reviewer of Tikun Hatzot, Naomi Doudai, uses the play’s English title, Midnight Prayer, for her notice, although the performance was in Hebrew (as was that of Tikun).

[Doudai includes a box at the top of her column to list the production’s cast and staff, which I’ve chosen not to reproduce here.  Instead, I’ll insert the character’s names in brackets into Doudai’s text as she names the actors.

[Helen gives brief definitions of the words Ashkenazi and Sephardi in her column, geared toward the play’s context.  Doudai doesn’t define the words at all, assuming, I presume, that her Israeli readers will know what they mean.  For Rick On Theater‘s U.S. (and non-Jewish) readers, I’ll give more general definitions for the words.  The explanations below are based on passages in my post on “Crypto-Jews,” published on ROT on 15 September 2009:

Jews descended from Central and Eastern European ancestors are Ashkenazim.  The word comes from the medieval Hebrew name for what we now call Germany, but it also refers to Jews from the Slavic lands, Hungary, France, and even Italy.  The traditions, cuisine, and language of the Ashkenazi Jews are distinctive to that group, influenced by the German and Slavic cultures within which the Ashkenazi Jews lived.  Yiddish, for instance, is derived from medieval German with elements of Hebrew (whose alphabet the language uses), Russian, Ukrainian, Byelorussian, and Polish.

The Jews from Spain, Portugal, Turkey, and North Africa are Sephardim (from the word that in modern Hebrew is the name for Spain).  Their religious practices are quite different from those of the Ashkenazim, though the religious tenets are the same.  The foods, including the Seder meal, of Sephardim is markedly different from that which we know as “Jewish food” in the United States and Western Europe, and the lingua franca of Sephardic Jews is Ladino, which bears the same relationship to Spanish, Portuguese, Turkish, and Arabic that Yiddish does with German, Russian, and Polish.

[Helen made a parenthetical reference to another ethnic group of Jews, the Mizrachim, closely associated with the  Sephardim.  My explanation of this Jewish group is as follows:

Mizrachim are Jews from the Middle East, Central Asia, and the Caucasus.  The name, which derives from the Hebrew word for ‘easterners,’ refers today, especially in Israel, to Jews from Muslim-majority lands, especially Arabic countries and Iran.  Also called Oriental Jews, their traditions are similar, even identical to those of the Sephardim, but Mizrachim speak many different Judaic languages based on Arabic, Farsi, Kurdish, or the other native tongues of the regions in which they live (or lived, as most have fled their Muslim-dominated homelands, many for Israel, because of oppression and violence).] 

Midnight Prayer [Tikun Hatzot]
By Amnon Levy and Rami Danon
Directed by Rami Danon
Cameri Theater, Tel Aviv; 14 May 1996

by Naomi Doudai

With the advent of a drama like Midnight Prayer, audiences in this country are at long last being exposed to a convulsive frontal explosion of Sephardi resentment against Ashkenazi attitudes.

The staging of this play marks a rare and rancorous release of what hitherto has been an overtly suppressed though long built-up hostility nursed by citizens of oriental origin against the patronizing-cum-contemptuous view in which they are held by many of their European counterparts. As an outspoken, embittered outcry as well as a significant socio-political manifesto, it should have a powerful impact.

Yossi Graber [Rabbi Shtat] and Arieh Elias [Hacham Atiya] give masterly studies symbolizing the Ashkenazi and the Sephardi religious establishment respectively.

Yoram Hatav [Berke] depicts a Deri-prototype emotionally and slavishly trapped in the former, while Avraham Selektar [Pinhas], in the most genuinely moving role of the evening, plays his simple Sephardi father.

Characterizations apart, the text is however by no means on a par with the performances or the thematic projection. First, the religio-political juxtaposition of sacred and profane is, to put it mildly, out of balance.

There is, too, something of cheap sentimentalization as well as a sense of forced sanctity in episodes like the ecstatic Ashkenazi ritual dance and the Sephardi religious liturgy.

Then there is the psychological aspect. While the agonized frustration of conflicting ethnic identity and its consequent sense of inferiority are graphically documented, they are not realized artistically.

The victor-victim confrontation pictured here is a one-sided, partisan structure of half truths.

[Doudai uses the word ‘Deri-prototype’ above, but it’s not a word I’ve ever encountered before and I couldn’t find a definition of it anywhere on line.  So I e-mailed Helen Kaye to see if she could help—and she did!  Her explanation: It’s a reference to “Arye Deri, a Sephardic Jew educated in a Lithuanian (Ashkenazi) yeshiva, an influential politician (for his adherents)  who went to jail for three years on corruption charges.”

[For a little more background for ROT’s U.S. readers, Arye Deri (b. 1959 in Meknes, Morocco) is an Israeli politician who’s one of the founders of Shas, a Haredi (ultra-orthodox) religious political party in Israel, and acts on its behalf as Minister of the Interior, Minister of the Development of the Negev and Galilee, and a member in the Security Cabinet of Israel.  He previously served as Minister of the Economy (2015), among other posts.  In 1999, Deri was convicted of bribery, fraud, and breach of trust, and given a three-year jail sentence.  At the end of 2012, ahead of the elections for the nineteenth Knesset (January 2013), he returned to lead Shas party.  He was placed in the second position, and was re-elected to the Knesset (Israel’s parliament).  In May 2013, Deri was re-appointed to the role of Shas chairman.

[Israeli police recommended on 20 November 2018 that he be indicted for "committing fraud, breach of trust, obstructing court proceedings, money laundering, and tax offenses."  In December 2014, however, Israeli television released video footage in which the founder of Shas attacked Deri as a wicked man and a thief.  Deri handed a resignation letter to the rabbinical board of Shas, which refused to accept it.  Deri then presented his resignation to the Knesset speaker.  Nevertheless, he was reelected to the Knesset in 2015 and appointed Minister of the Economy in Prime Minister Benjamin Netanyahu’s fourth government, in which he held several other ministerial posts.  He resigned as Minister of the Economy in November 2015, reportedly over an unpopular gas monopoly deal, and then resigned from the Knesset in October 2016.  Israeli police recommended in November 2018 that Deri be indicted for “committing fraud, breach of trust, obstructing court proceedings, money laundering, and tax offenses.”

[Last August, Deri, as Interior Minister, barred U.S. Representatives Ilhan Omar of Minnesota and Rashida Tlaib of Michigan, from entering Israel.  On 17 September this year, Israel held new parliamentary elections and the outcome was indecisive.  Netyanyahu was forced into a coalition with his prime rival, Benny Gantz, leader of Blue and White, a centrist and liberal political alliance, in order to form a government. of national unity.  Deri retained his Knesset seat, but at this writing, the government hasn’t been formed and cabinet ministers haven’t been appointed.]

*  *  *  *
Dancing Lessons
By Mark St. Germain
Translated by Eli Bijaui
Directed and choreographed by Miri Lazar
Bet Lessin, Tel Aviv; 5 October 2019

by Helen Kaye

“Only connect” is the recurrent theme of Howards End, C. S. Forster’s 1908 novel about class and convention in England, and connection is finally achieved between Ever (Tom Hagi) and Senga (Meyrav Shirom). Ever, a professor of geo-sciences, wants a dance lesson so that he can function appropriately at an awards dinner. Simple, no? Not really, because Ever has Asperger’s Syndrome, an adjunct of the condition known as autism. Although he functions at a very high level professionally and intellectually, Ever cannot connect, not physically, not emotionally. He can’t bear to touch or be touched by another person. He is verbally, well, indiscreet. Says things that others may not want to hear. Senga – she was supposed to be Agnes but her aunt reversed the letters on her birth certificate – is a dancer, was a dancer, that is, because her leg is in a brace, but she won’t even entertain the idea that she may never dance again, because without dance, what is she, why is she?

Ever, and Senga, both damaged, both stunted, slowly, slowly learn that there’s more to life than their limitations. “Change requires courage,” says Ever bravely, “with courage anything is possible.” And so it is. The emergence of both from the chrysalis of solitude and obsession that constricts them is what drives St. Germain’s often funny, often very touching, sometimes uncomfortable romantic comedy.

Ms. Lazar has not hurried (or constricted) her actors. She has allowed them room, has let them discover; both Hagi and Shirom have grabbed their opportunity and what we see are nuanced, truthful performances that show us the selves underneath the selves we let others see.

Hagi’s Ever is awkward, afraid, inhibited and uninhibited, brave and cowardly all wrapped in a charm that pokes from within and teaches him to listen. As Senga, Shirom is angry, resentful, aggressive, terrified, needy, but slowly, slowly, she too becomes willing to listen. And then they reach out, one to the other.

A huge window dominates Shani Tur’s diagonal interior set, a metaphor, perhaps, for the barriers that initially pen in the characters. It works, as do Shira Wise’s schlumpy costumes and Ms. Lazar’s musical arrangements. The latter sometimes form a backdrop for three dancers whose presence is entirely superfluous because the play, the actors and the direction do the job perfectly well, thank you.

[Dancing Lessons is U.S. playwright Mark St. Germain’s eighth play.  It premièred In 2014 at the Barrington Stage Company in Pittsfield, Massachusetts.  The play was presented at the Florida Studio Theatre in Sarasota in 2015 and in 2016 at the Orlando (Florida) Shakespeare Theater.  St. Germain is also the author of Camping With Henry And Tom, which won the 1995 Outer Critics Circle and Lucille Lortel Awards; Forgiving Typhoid Mary, one of Time magazine’s “Year’s Ten Best” in 1991; and Johnny Pye and the Fool-Killer, winner of a 1993 AT&T “New Plays for the Nineties” Award.

[For non-Yiddiphiles, schlumpy is the adjective from schlump (or shlump), which means, according to Martin Marcus’s Yiddish for Yankees: or. Funny, You Don’t Look Gentile (Philadelphia; New York: J. B. Lippincott, 1968): “A slow, slovenly person; a sad sack.  What you feel like the day you wear your shiny suit and ratty tie to the office and the chairman of the board pops in for an all-day conference.”]

13 October 2019

"The Wickedest Man In The World": Aleister Crowley, Part 6


[Well, we made it to the final segment of “‘The Wickedest Man In The World’: Aleister Crowley.”  When I was composing the post, I wondered if I’d ever get here—and I wonder if you felt the same thing while you were reading it.  (As I’ve said from Part 2 on, if you haven’t read the first five installments, I urge you to go back to 28 September and start with Part 1.  The sections were posted at three-day intervals and I explain, define, and identify ideas, terms, and people along the way that recur later.) 

[This is not just the end of my Crowley post, but the end of the occultist’s life.  Part of what’s astonishing about the saga of Aleister Crowley is the tortuous route by which he got to his end.  As you’re about to see, The Beast didn’t straighten out his path even as he arrived at the glide path to his final days.]

When the libel suit over Laughing Torso ended (Part 5) and Aleister Crowley exited the courthouse, a 19-year-old Cornish woman ran up to him and said, weeping, “This verdict is the wickedest thing since the Crucifixion.  Is there anything I can do to help?”  Deidre Patricia Maureen Doherty offered to be the mother of the occultist’s child.

“Patsy” Doherty (1915-92) was the step-daughter of a French peer: she was the daughter of Phyllis Marian Gotch (1882-1963) whose second husband was André, Marquis de Verdières (b. c. 1892; d. ?).  This made Doherty’s mother a marquise, a title she used most of the rest of her life.  (Gotch divorced de Verdières in 1935 and married for the third time the following year.)  In March 1937, the mystic wrote a poem entitled “To Deidre in Labour” and on 2 May, Doherty gave birth to a son, Randall Gair Doherty (d. 2002), whom Crowley nicknamed “Aleister Ataturk.” 

The occultist considered the boy his son and heir and Aleister Ataturk seems to have inherited (or assumed) The Beast’s idiosyncratic ways, adopting several aliases, including Count Charles Edward D’Arquires.  He never took to Crowley’s philosophical beliefs, however, and wasn’t active in A∴A∴, the Ordo Templi Orientis, the Lamp of Invisible Light, or any of his father’s societies.  Young Ataturk went to school in Scotland and, like his father, traveled widely (including extended sojourns in the United States), but he considered West Cornwall, his mother’s birthplace, his real home.

We’ve seen that The Beast wasn’t much of a husband in any sense of the word, and he proved not to be much of a father, either.  After Ataturk was born, Doherty returned with him to West Cornwall.  She kept in touch with Crowley and she and Ataturk saw him in London from time to time.  On 2 May 1947, Ataturk’s 10th birthday, they came to Hastings, where the magus had moved, to visit him.  Old, sick, and alone—The Beast was seven months from his death—he was pleased for the three-day visit.

Crowley took the occasion to write his first (and reportedly only) letter to his son.  Full of “fatherly” advice à la Aleister Crowley and some family “history,” it was a strange letter to write to a 10-year-old boy.  (The text of the letter is available on line on many sites.  Two are “Scarlet Woman – Babalon,” Forever and a day, https://www.foreverandaday.biz/Pages_info/AleisterWomen.html, under “Deirdre Patricia MacAlpine  nee Doherty”; and “Aleister MacAlpine: Ataturk Crowley: Randall Gair: Count Charles Edward D'Arquires (1937-2002),” artcornwall.org, http://www.artcornwall.org/features/Aleister_Crowley_Ataturk_McAlpine.htm, at the bottom of the page.)

In 1936, the magus wrote Equinox of the Gods, which contained a facsimile of the handwritten manuscript of The Book of the Law as dictated to him by Aiwass, the messenger of Horus, in 1904 while he was in Egypt (see Part 2).  It was published in September as volume 3, number 3 of The Equinox.  His first book in three years, Equinox of the Gods sold well enough (for a change) to require a second printing.  The next year, the year his son was born and his then-current lover, Patsy Doherty, left him for the Cornish coast, the mystic gave a series of lectures on yoga in London.  His expenses were now being paid by OTO’s Agape Lodge in L.A.

In the waning years of Germany’s Weimar Republic, Adolf Hitler, as head of the National Socialist German Workers Party (NSDAP, more commonly known as the Nazi Party), the largest  party in the Reichstag (parliament), was appointed Chancellor (prime minister) of the German Reich in January 1933.  Crowley’s friend Martha Küntzel (Part 5), who was also an ardent admirer of Hitler, had sent Der Führer a copy of Crowley’s The Book of the Law.  Küntzler was popular among the German aristocracy and wielded some influence in the country and she believed that Hitler might convert to Thelema and convinced Crowley of this.  The Beast was intrigued with Nazism and, influenced by Küntzler, accepted her conviction.  When the Nazis banned Thelema, abolished A∴A∴ and the German OTO, and imprisoned Karl Germer (Part 5), who’d emigrated to the United States in 1926 but returned to Germany in 1935 when his U.S. visa expired, Crowley attacked Hitler as a black magician.

Germer was arrested in Leipzig by the Gestapo in February 1935 and imprisoned in Berlin.  He was allowed to write and work, despite the fact that he’d been arrested for his religious beliefs and for teaching Thelema.  Because Germer’s wife was a U.S. citizen, the Germans decided he deserved harsher treatment and he was transferred to a concentration camp.  His wife urged the U.S. government and its diplomatic representatives in Berlin to apply for Germer’s release, but the German government kept moving him from one camp to another, even transferring him to French control after the occupation of France.  Finally, in February 1941, having been issued a new U.S. visa as the spouse of a citizen, Germer returned to the United States.  There, he continued to raise funds for Crowley and support the occultist’s activities.

Küntzel had fallen under Hitler’s spell as soon as he gained prominence as the leader of National Socialism; as early as 1926, she asserted that Hitler was her “magical son,” or pupil.  Crowley had told Küntzel in 1925 that the first country to adopt The Book of the Law as its official principles would become the world’s leading nation.  This prompted Küntzel to send the Führer a copy of her translation of the book, believing that he was the country’s rising leader and that Crowley was the prophet of National Socialism. 

She saw in Nazism the application of Thelemic tenets and believed, without any evidence, that Crowley was the spiritual father of Hitler and National Socialism.  Of course, Der Fuhrer didn’t see things Küntzel’s way and outlawed not only Thelema, A∴A∴, and OTO, but all occult orders and banned their books and writings.  The Gestapo brought Küntzel in for interrogation in 1937 and seized all her papers concerning Thelema, A∴A∴, and OTO.

Still, Küntzel never relinquished her devotion to Nazism, but Crowley, who’d harbored a fantasy in the ’30s of serving Hitler and even acting as the Führer’s behind-the-throne deputy, running Germany on the Reichskanzler’s behalf, reversed his support for Hitler upon the arrest of Germer and the abolition of the occult orders.  His copy of Hitler Speaks, the British title for the 1940 translation of Gespräche mit Hitler (Conversations with Hitler; U.S. title: Voice of Destruction) by Hermann Rauschning (1887-1982), a former Nazi who’d turned against the Party in 1934, was heavily annotated with comments on the corollaries between the Führer’s ideas and his own.  (Rauschning’s book was a popular seller when it came out, even abroad, but subsequent scholarship has cast severe doubt on its credibility.) 

Crowley even believed that Hitler had plagiarized many of the magus’s concepts, though Hitler had written Mein Kampf (published in 1925-26) starting in 1923, some years before Küntzel had translated any of Crowley’s writings into German.  There were unconfirmed reports that Crowley tried to contact Hitler several times during World War II.  There’s no evidence, however, that either he or Küntzel had ever met or spoken with Der Führer. Any correspondence between Hitler’s National Socialism and Crowley’s various philosophies, rather than demonstrating that The Beast had influenced Der Führer, indicated how Crowley’s beliefs aligned with Nazi doctrine. 

After he became disillusioned with Hitler and Nazism, Crowley began writing harshly against the German leader and his Party.  Some Crowley commentators say this reversal was because the occultist saw them for what they really were, but I suspect a significant motivator for it was the fact that Hitler had rejected Crowley.  (Crowley wasn’t in Germany during this period, but he was effectively banned by the Führer’s decree against occultists and occult organizations.  So that makes three countries that excluded The Great Beast from their territories.)

When the Second World War broke out in Europe in September 1939, Aleister Crowley offered his services to the intelligence branch of the British Admiralty.  The Naval Intelligence Division turned him down—despite his association with several figures in the British intelligence field such as Dennis Wheatley (1897-1977), prolific writer of thrillers and occult novels whose Gregory Sallust series was an inspirations for Fleming’s James Bond stories; Roald Dahl (1916-90), a writer, fighter pilot, and RAF intelligence officer in Washington, D.C., reporting to Winston Churchill; Ian Fleming (1908-64), after the war the popular author of the Bond spy novels; and Maxwell Knight (1900-68), a spymaster reputedly the model for the James Bond character “M,” Agent 007’s superior. 

According to records, Crowley’s name came up several times as a possible asset for an intelligence operation, but his notoriety and the fact that he was already suspected in Germany of being a British spy, always meant that the notion was ultimately rejected.  He did, however, contend that he devised the “V” hand sign that Churchill made famous as a symbol of “victory,” though no record exists to support The Beast’s claim.  The BBC has always been credited with suggesting this gesture to Churchill.

By 1940, the occultist’s asthma had returned, but his German-made medication was no longer available in Britain and he returned to using heroin as a remedy, reviving his addiction.  During the London Blitz, the German bombing campaign against Britain in 1940 and ’41, Crowley decamped for Torquay, a seashore resort town on the English Riviera, the southern Devon coast of the English Channel.  He was briefly hospitalized there for his asthma before returning to London.

In October 1943, Crowley was visited in London by a young U.S. Army captain, Grady L. McMurtry (1918-85), who was stationed in England between September 1943 and the middle of 1944.  McMurtry, who’d lived in California, site of the Agape Lodge, was a Thelemite and, since 1941, a member of OTO.  An officer of the Ordnance Department—the military logistics branch that procured and supplied weapons and munitions to the army’s combat forces—McMurtry saw combat in Normandy on D-Day (June 1944) and in the liberations of France (June-September 1944) and Belgium (September 1944), and he took part in the occupation of Germany (from June 1945).  The young officer had decided to take the opportunity of being in London to call on the master and Crowley was so taken with the 25-year-old that he advanced McMurtry from the I° of OTO directly to the IX°, skipping all the levels in between. 

McMurtry became the magus’s personal pupil and Crowley proclaimed him the successor to Karl Germer—who’d already been designated The Beast’s immediate follower as the Frater Superior of the Order.  (When Crowley died in December 1947, Germer became the leader of OTO until his own death in October 1962.  Because of internal strife and internecine disputes, McMurtry, who’d been designated Crowley’s representative in the U.S. when he returned to California in April 1946, didn’t invoke Crowley’s authority until 1969, when he took charge of the remains of OTO and strove to effect its revival until his death in July 1985.)

The magus’s major piece of work of his last years was The Book of Thoth, a volume on the tarot deck of divination cards.  (The origins and meanings of the tarot are hazy and too complex to go into here.  Suffice it to say that the cards appeared around the middle of the 15th century in various parts of Europe for playing games.  They became associated with the occult when at the end of the 18th century, they began to be used to predict the future.)  The book was accompanied by a set of the cards, designed by artist Frieda Harris (1877-1962), whom Crowley met in 1938.

Crowley conceived of the project at that time and went in search of an artist to design the cards.  He was introduced to Harris, a member of the Co-Masons, a branch of Freemasonry open to women.  She was also a follower of Rudolf Steiner’s Anthroposophy (see my profile on Steiner, referenced in Parts 2 and 4).  The occultist began instructing Harris (whose husband, Percy Harris, was a member of parliament for the Liberal Party; after he was made a baronet in 1932, his wife called herself Lady Frieda Harris) in the philosophies of his orders and other occult lore. 

In their collaboration on the Thoth tarot deck, which became one of the most popular tarot decks worldwide, Crowley provided written descriptions of the cards and rough sketches and Harris created the final designs based on her readings of the magus’s books and other writings and her study of the tenets of A∴A∴, OTO, and Thelema.  (Thoth, readers will recall, is the ancient Egyptian god of, among other things, wisdom and magic; see Part 1.)  The tarot project was intended to take six months, but it ran from 1938 until 1943; though the book was published in 1944 (in The Equinox, volume 3, number 5), neither Crowley nor Harris lived to see the cards published in 1969 (by OTO).  Crowley’s designs, which started out to be traditional, if updated, tarot depictions, ultimately incorporated, at Harris’s urging, images from his own philosophies, and such diverse fields as science, philosophy, and various occult beliefs.

Normally when a sponsor commissions an artist to create something, the sponsor pays, or otherwise compensates, the artist for her work.  In the case of Aleister Crowley, constantly broke in his last years, and Frieda Harris, she paid him a monthly stipend—and he got his and Harris’s friend Greta Valentine, a London socialite, to put him up at her house on the luxurious and prestigious Hyde Park Crescent.  Harris used her contacts in British society to find the magus financing, publication for the cards and the book, exhibitions for the tarot paintings, and a published catalogue of the project.  Harris insisted on remaining largely anonymous (she got credit as “artist-executant” in The Book of Thoth and Crowley praised her lavishly in the introduction) and the agreement with Crowley entitled her to the short end of a 66-33 split of the proceeds of the work.

Though her commitment to the occult was minimal, Harris became devoted to Crowley and remained so for the rest of his life.  The Beast’s relationship with his mother was fraught, but aside from her, Harris was probably the woman with whom Crowley had his strongest, longest-lasting, and most platonic connection of his life.  Harris’s letters to Crowley were fond and compassionate—though his to her were largely pleas for money.  Just shy of 60 when they met, Harris was one of the few real friends Crowley, a man who usually made enemies, had, especially among women.

In April 1944, the magus moved briefly to a village in Buckinghamshire, about 40 miles northwest of London.  Then in January 1945, he moved again, and for the last time, to Hastings, Sussex, 55 miles southeast of the capital on the Channel coast.  There he moved into an old Victorian mansion on a wooded four-acre plot converted into a boarding house called Netherwood.  In March 1945, Crowley hired a young student of the occult, Kenneth Grant (1924-2011) to act as his secretary and assistant.  Living in poverty, the magus couldn’t pay Grant in money so he traded the young man’s services for instruction in magic, and Grant moved into a cottage on the grounds of Netherwood. 

Grant had been studying the occult since he was 14 and joined the British Army at 18 in 1942, though he never saw overseas duty.  (He was invalided out of the service for an unspecified medical condition in 1944.)  His efforts to contact Crowley, whose writings he’d read, were quite persistent, finally resulting in his obtaining the new address of the master’s publisher and sending them a letter to forward to Crowley.  He and the magus first met in December 1944 when Crowley was living in Buckinghamshire; then they met briefly several more times and exchanged letters.  When Grant moved to Hastings, he lived in the Netherwood cottage for several months and looked after Crowley’s correspondence and other needs; in exchange, he read freely in the magus’s extensive library of occult materials and performed ceremonial magic with the master. 

Crowley initiated Grant into OTO directly to an advanced level and even contemplated training Grant to look after the British OTO when Crowley no longer could.  Dispute this seemingly close relationship between master and student, the two men argued and Crowley, as he often did, became annoyed with his disciple when he didn’t agree with The Beast unquestioningly.  After a row, Crowley shouted abuses at the young man and in May 1945, Grant announced he would be leaving Netherwood to return to London.  Grant and Crowley continued to correspond and Grant occasionally looked after some of Crowley’s affairs in London, but the two never saw one another again.  Grant attended Crowley’s funeral, however, and in 1970, he started his own occult order, the Typhonian Ordo Templi Orientis (later renamed the Typhonian Order).

Many of The Beast’s associates came to call on him in his final months at Netherwood.  His last mistress, Patsy Doherty, and his son Ataturk, visited for his last few months, arriving at Netherwood that summer.  Frieda Harris came and sketched the magus on his deathbed; she also paid for a private nurse as Crowley had no funds to hire one.  The Beast’s condition worsened rapidly and on 1 December 1947, at the age of 72, Aleister (né Edward Alexander) Crowley died of cardiomyopathy and chronic bronchitis, complicated by pleurisy.  On 5 December, his remains were cremated in Brighton at a private ceremony.  Crowley’s ashes were shipped to Karl Germer, who had been unable to visit Crowley or attend the funeral because he was denied a British visa, and the inheritor of the magus’s leadership of OTO buried the cremains in his Hampton, New Jersey, garden.

The Brighton service consisted of reading from The Book of the Law, Magick, the Gnostic Mass, and other of Crowley’s writings, including “Hymn to Pan.”  The few reporters present couldn’t make sense of the funeral and described the rite as a “Black Mass.”  When it was also reported that the physician who’d attended The Beast had himself died at 58 within 24 hours of Crowley’s passing, talk of a curse began to circulate. 

OTO, A∴A∴, and Thelema all still exist to one extent or another, with various contemporary organizations claiming Aleister Crowley’s original orders as their origins and progenitors.  The Great Beast still has influence in today’s pop culture as well, inspiring (to a certain extent) rock groups like Led Zeppelin, Ozzy Osbourne, and the Beatles.  (His face appears on the Beatles’ 1967 Sgt. Pepper’s Lonely Hearts Club Band album cover and Osbourne released a song in 1980 called “Mr. Crowley.”)  Last June, I saw a new play, Dave Malloy’s one-act a capella opera Octet (see my ROT report posted 10 June) in which Crowley gets a passing mention. 

In 2005, the WB network started airing a series called Supernatural (still running, now on the CW network).  It’s about two brothers who seek out and kill supernatural monsters—sort of a Route 66 with demons and vampires or Kolchak on the road.  In an early season, the show introduced a character named Fergus Crowley, designated the King of Hell (he was killed off several seasons later).  The writers named the character after Aleister Crowley, though that’s never mentioned on the show (and everyone pronounces the name to rhyme with ‘jowly,’ not ‘holy’).

It’s hard to believe in the 21st century that Aleister Crowley could have the influence on European culture that he did.  In his lifetime, the newspapers were full of stories about him, some apocryphal and others accurate—but his name was spread widely.  His reputation was also widely known, from London, across Europe to Asia and North Africa and west to North America.  He may have made enemies wherever he went, but he also had devoted followers.  He may have had few real friends, but supporters came to his aid when he ran out of money—even if he did little to support himself.  This remained true to the end of Crowley’s life even though many who gravitated to the mystic suffered terrible fates—abandonment, poverty, madness, and even suicide.

It’s even harder to fathom that his influence would continue to echo down to the present day, especially among young people.  (My friend Leo Shapiro, from whom, indirectly, I learned about the occultist, was only 23 when he was reading Crowley in Taos, New Mexico, in 1969.  Dave Malloy was 46 when Octet opened Off-Broadway in 2019.)  The character of “Crowley” appeared on Supernatural a little less than 10 years ago.  His books are still in print and for sale at Barnes & Noble and on Amazon and people still visit the ruin of the Abbey of Thelema in Cefalù (that film on the subject  was released less than a dozen years ago).  I don’t know how seriously anyone takes Crowley and his concepts, but he and they are still out there. 

The magus’s life may read like fantasy fiction—and much of it may well have been invented or embellished by Crowley himself—but he was, nevertheless, real.  He may have been the world’s greatest charlatan and fabulist, or he may have been a self-deluded true believer.  The record’s there, but it doesn’t settle that question.  Readers will just have to judge for themselves.

[Trying to winnow Crowley’s bio down to a manageable length and keep it digestible was exceedingly hard.  I said that I’d simplified my explanation of Thelema when I came to it, but the truth is that I simplified everything.  I left out details that I decided were less significant than others, and I skipped many of the occultist’s many acquaintances who came and went with little effect on the progress of his life.  In several cases, I referred to people merely as “a friend” or “a supporter” without ever giving their names.  Heaven knows, there are so many I did identify that it’s hard to keep track of them as it is.  The magus’s life was more peripatetic than I related as well—I omitted some of his travels and destinations to keep things clear for readers.

[Obviously, my decisions were based solely on my own reading of the circumstances and I’m sure some will disagree with my choices.  That’s the breaks, I’m afraid.  There are dozens, even scores of books on Crowley—and if you include the books on his philosophical and magical beliefs, the number increases into the hundreds, I’m sure.  The fact is that none of the books covers exactly the same ground, so if I assembled all the different incidents, events, personalities, and concepts in an effort to be comprehensive, this wouldn’t be a 6-part blog post.  It’d be a multi-volume set of tomes!  I just hope I didn’t simplify the tale that was Aleister Crowley’s life and work so much that it seems ordinary.]