Over the arid steppe unto Siberia, the shamans speak of spirit wives with whom they interact, within their dreams; it is said that it is from these female Genies, the shamans derive their shamanic abilities. The technique is ancient, which had no doubt influenced the ‘lucid dream’ Yoga practice of Tibetan Buddhism and that of Hinduism, whose spiritual practices also involve female entities called Dakinis.
When Christian scholars first encountered the erotic symbolism of the far-East, which is utilised by Hinduism and Tibetan Buddhism, their spiritualised sexuality was considered to be rather perverse and debased.
This was more so the case, when the Hindu and Buddhist practitioners communicated they were sexually interacting with spirits within their dreams, which was and still is classified as being demonic by many of the followers of Judaism, Christianity and Islam, who consider it as being none too dissimilar to that of engaging in bestialty.
However, over time, the erotic symbolism of Hinduism, Tantra and Tibetan Buddhism has since been accepted by the Middle Eastern ridden West as being a spiritual expression of human sexuality and that of a union with the internal reality of the divine.
But, when you otherwise translate the erotic artistic expression of Hinduism, Tantra and Tibetan Buddhism into a modern context, such as depicting a Dakini dressed as an archetypal schoolgirl, which of a fetish, is then spiritualised of an ‘internal focus,’ it is soon castigated as being pornography, by those who externalise everything of a hedonic hangup.
The Dakinis are none too dissimilar to the Valkyries of ancient Norse mythology, who are described as being the handmaidens of the ‘shaman’ deity called Odin, the Saxon’s named as Woden. However, over time these female entities were forgotten and cast aside in Europe, to be classed as demonic Succubae.
It is somewhat analogous to the Great Old Ones, who were cast beyond the Angel angles of space-time by the Elder Gods, as described by the author, H.P Lovecraft, who was nightly assailed by the bedroom invading Old Hag syndrome, which he classed as being visitations of Nightgaunts.
Alas, Lovecraft never learnt how to out of the body ride the night-Mare, of which the shamans to speak of as being an eight-legged female centaur, which weaves an associative web, interconnecting all things, to thence glide over of browsing, within the dream.
Lovecraft’s superb literary creation of a grimoire, entitled the Necronomicon, he to surrealistically describe as being a banned tome, like many another book of the arcane shadow, which was said to have been penned by the so called rebellious Devil.
However, in reality, as Lovecraft was well aware, these banned books can be found of viral-meme preponderance, which, of a most curious historical fact, they do not describe or to illustrate female entities, apart from one singular grimoire, which is popularly known as the Goetia.
When you have a symbol system of a religious paradigm, which is gender based, it will invariably have an underlying sexuality associated with it; whether you like it or not. Many will scream that such is not the case, but at a subconscious level, it is undeniable of an everyday biological association.
The Goetia only mentions a few, scant female entities out of its 72 listed spirits, which are described as being male spirits in disguise, due to its all male religious foundation.
Suffice to say, should Lovecraft’s Necronomicon to have really existed, it would list Succubae; for it would surely have been banned of Entartete Kunst censorship, burnt upon a pyre along with a Witch, or to be deeply buried under a Sphinx, since there is no historical evidence of such a tome ever being penned and illustrated by sweaty monks, who far preferred their Biblical Incubi.
It is very likely that Lovecraft based his Necronomicon upon the Goetia, which in particular has heavily influenced popular culture. This is probably due to its illustrated version, which came about when the French artist, Louis Breton created a set of 69 illustrations of demons for a grimoire. Breton’s illustrations were then engraved by M. Jarrault.
J.A.S. The occultist and author, Collin de Plancy proceeded to publish Breton’s illustrations with brief descriptions within his book ‘Dictionnaire Infernal.’ The book was published in French throughout the 1800’s. Because of its underground popularity, it saw print in several editions.
Many of the Dictionnaire Infernal illustrations of the demons were later republished in S. L. MacGregor Mathers, The Goetia: The Lesser Key of Solomon, which influenced many a surrealist artist as well as leading to Aleister Crowley’s illustrated Goetia.
The illustrated Goetia has greatly influenced the majority of the modern grimoires, which of continuance do not list Succubae; as if there is a symbolic blind-spot; probably because such a tome would be considered as being Entartete Kunst pornography, even by the shocked Devil himself, who to panic stricken scream, “reptilian agenda!”
So, Faustus Crow has entered the fray, by creating a rebel grimoire illustrating Succubae, who be the true ‘Great Old Ones,’ whom to have ‘factually’ been cast beyond the Angel angles of the symbolic framework, upon which your culture is based.
Book One is presently available on Createspace and Amazon, in ‘Paperback.’ Book Two is also available. ‘Book Two will ‘Not’ be available on Kindle; likewise with Book Three. Both Book Two and Three of the Goetia Girls, will ‘Only’ be available in paperback. Book Three is on the way.