Monday, 30 July 2012

Not Dying A Third Time

I had an initiation experience recently where I do believe that I died to old parts of myself, reconstructed my Soul Anatomy to a better, more efficient configuration, and avoided a slow death of continuing to close myself off to life.

A mandala-like drawing helped me to focus and take me into the state I needed to be in.

Reading from the "Book Of Caverns" whilst I was submerged in water inside a granite chamber did the rest.

I had a "mirror" around me at the time - a person I have developed a relationship with who is almost identical to me, and realising what that meant. And what that was showing me.

A real lotus was involved. An image of Heqet, the frog goddess, also.

And later, this drawing:


A third time of not dying? The first came in 1988. My car went over a cliff. The second was in 2006 - I was torn from my home, never to return, and my soul was rent.

This time it was much less violent but still challenging.

This is my second "N" post for the Pagan Blog Project

Thursday, 26 July 2012

Not Decaying In The Other World

My first “N” post for the Pagan Blog Project is direct from Normandi Ellis’ “Awakening Osiris”. It is one of my favourite pieces. It has been translated from two chapters from the papyrus of Ani, “The chapter of not suffering corruption in Neterkhert”, and “The chapter of not perishing and becoming alive in Neterkhert”.
This post is also my first contribution to articles for the KIN Website.

It is clear from reading this text that the Kemetics thought that the physical body could in someway reanimate post death. As mention is made about transforming into light, I wonder if the flesh reassembles itself once all the soul parts are united and becomes an indestructible thing more solid than flesh but with a transparent light feel or look? What does transfigured flesh look like I wonder?

Not Decaying In The Other World

Body, how still you are.

Are you dreaming?

Body, are you thinking of old places, old things?

The hands of Ausar lie crossed on his chest, the thumbs touch, two hands like the wings of a falcon.

Why do the hands not fly away?

Why does the soul not rise up?

The fingers of Ausar do not move.

They do not take bread to his mouth.

His lips are parched.

He does not drink wine.

His legs will not dance in the darkness.

The worm inches through the dust.

Body, rise up singing.

May my fingers practice making fists.

May my legs quiver and my feet stamp.

Body, do not dream the old, easy dreams forever.

Flesh, do not rot and stink.

Child of sky, child of earth, rise up and speak.

Child of dawn, put on your crown.

We’ll travel far to the desert where the water bubbles up fresh from the rocks, where the olive trees grow low to the ground along the wadi, where the caves are cool and the hermits living there keep their secrets.

Rise up, flesh.

Do not rot and stink.

Do not let my legs be eaten by worms.

Do not let darkness overtake me.

Body, body, turn to light.

Run your fingers through the dust.

Monday, 16 July 2012


The exhibition “The Wonders of Ancient Mesopotamia” at the Melbourne Museum follows on from the success of the Tutankhamen exhibition last year. This current exhibition was curated by the British Museum in London and was of the same standard as the aforementioned exhibition from Egypt last year.

Whilst it may not possess the glamour of treasures that the previous exhibition boasted, it was certainly rich with archaeological wealth and revealed much about the region that I was unaware of. Mesopotamia is the area that runs between two rivers (the Tigris and the Euphrates) which  is where it derives its name.  The area today is primarily Iraq.

Being situated in this fertile region gave birth to 3 major cultures which the term Mesopotamia encompasses: Assyria, Babylon, and Sumeria. These cultures existed simultaneously and overlapped one another in a span of 3000 years.

A major focus of the exhibit was on the cuneiform writing that these cultures developed, and date back to the earliest forms of writing discovered so far. Mesopotamia is credited with the first alphabet. (Wether the recent discoveries at Gobekli Tepi will challenge this is speculative right now).

Another main focus were the colossal rock carved reliefs which adorned walls. These were unique in their style and execution and flavour ones perception of Mesopotamia in the same way that we recognise Egyptian style and artwork today also.

A flower like emblem was used to denote divinity, which is not unlike the flower of life; entities wearing horns were also recognised as divinity and / or royalty, often the two being interchangeable. There are Kemetic parallels here.

The flower of divinity on a seal flanked by two scorpions

Egyptian artwork was more than paralleled in the culture, in some cases I was outright incorporated, like the Khepera and falcon /sphinx images featured on display.

A disturbing scene of a favourite royal pastime was that of hunting and murdering of lions. Artistically, this was captured with brilliance, but the concept was stomach turning and off putting. May Sekhmet and Nefertum look down upon this practice with fury!

Two gods leapt out at me in this exhibition: Pazazzu and an eagle headed deity called Nisroch. Like their Egyptian counterparts, the Mesopotamians loved depicting their gods as winged beings or in winged vehicles.


The exhibition was great to visit, but was a little text heavy: much needed to be read with each item as you passed by. Many of the items were not as striking visually as comparable Egyptian objects, though craftsmanship was still very high.

On another note, I have been reading the Necronomicon, which is purported to be from Babylonian magickal texts, and finding it fascinating.

The "Mesopotamia Cafe" (which should have been called "Cuneiform Cafe"!!!) featured walls covered in the cuneiform script. I wonder if it actually reads something comprehensible, or if it is just decorative as most modern depictions of the Kemetic glyphs are today . . .