Toby Chappell - 21 May

INFERNAL GEOMETRY
AND THE
LEFT-HAND PATH

Toby Chappell has revealed a pragmatic, powerful, and magical secret of the Western Left-Hand Path, according to a strict and hidden calendar. Great forces are made available for the talented and daring magician who uses this book. Greater forces still are unleashed upon the sleeping world with its publication. At times the face of the serpent is seen among men. This is such a time. This erudite and practical book is such a veil render. This is literally a moment when Western magic will be changed forever.

DON WEBB, AUTHOR OF OVERTHROWING THE OLD GODS: ALEISTER CROWLEY AND THE BOOK OF THE LAW AND COAUTHOR OF SET: THE OUTSIDER

Our existence is built out of 11 dimensions, as Benot B. Mandelbrot (19242010) has shown, but humankind is only aware of 4space (3D) and time (4D). The research of Mandelbrot was paradigm-shifting and gave birth to chaos mathematics and the fractal theories. To most people interested in these fields, it stays as a theory, but for the true magician it is a call that there are 7 dimensions unexplored. These unexplored dimensions are dealt with in H. P. Lovecrafts horror fiction, which echoes a genuine description of the worlds beyond the Newtonian laws of physicsdark unknown worlds that Toby Chappell, the author of Infernal Geometry and the Left-Hand Path, gives us access to through a system developed by the Church of Satan and the Temple of Set but that has a history that goes back in time to the mystery cults of ancient days.

THOMAS KARLSSON, PH.D., AUTHOR OF NIGHTSIDE OF THE RUNES: UTHARK, ADULRUNA, AND THE GOTHIC CABBALA

Without the pioneering work of Anton Szandor LaVey, Michael A. Aquino, Ph.D., and Stephen E. Flowers, Ph.D., this book would not exist. I have been deeply inspired by all three and am grateful for having had the opportunity to know and work with Aquino and Flowers (as well as Don Webb, himself a formidable practitioner and Teacher of the subject matter of this book). May this humble text bring honor to your teachings and spread your renown.

For their valuable contributions, encouragement, and/or feedback on the subject of the book and the writing process itself, I thank the following: Patty Hardy, Tim McGranahan, James Fitzsimmons, Ingvild Clark, Andr Harke, Mark Luskin, and Chris Merwin. Thanks also to James S. and Jarl T. for my original introduction to the Nine Angles; what seemed just a fascinating curiosity at the time has grown into a life-changing area of study, of which this book is but one manifestation.

I would also like to thank Jon Graham and all at Inner Traditions for their enthusiasm toward this project and hard work to help it become a reality.

FOREWEIRD

BY MICHAEL A. AQUINO, PH.D.

In trying to make sense of the natural environment in which they found themselves, the ancient Egyptians discerned regularities in phenomena, from the courses of the stars to the annual cycles of the Nile. As these phenomena recurred with inevitable regularity and predictability, the Egyptians further recognized determining and enforcing agencies behind them, each of which they identified as a neter (from which we retain the modern word &concept nature).

All but one of the neteruwhom later, duller cultures would call godscreated and ordered the physical environment; collectively, they would later comprise Natural Law (or, mythologically, various gods or a combined God).

So sensible humans learned about the neteru that impacted them and harmonized their lifestyles with them as much as possible, both to benefit and to avoid harm. Priesthoods and later scientists were/are entrusted with the task of understanding the neteru and devising optimal human cooperation with them.

To their marvel and delight, humans also discovered that the mechanisms and regularity of the neteru have sthetic aspects. They are harmonious, beautiful to the sight, pretty to the ear. Applying musical scales makes possible complex symphonies; using pi and phi in art and architecture ensures both strength and attractiveness.

If this were all there is to nature and human interaction with it, there would be no reason or need for this book. If in Tolkiens Middleearth there had been only the 3 Rings of the Elves, the 7 of the Dwarves, and the 9 of Men, the Ages of Arda (Earth) would have glided along placidly and unremarkably.

But there was another Ring there, and there is one here too: that other neter, which positions individual human consciousness independent of, hence external to the natural universe and its laws. The Egyptians knew this neter not of the neteru as Set; later cultures would echo him as Satan and similar deities of separateness.

It is this conscious separateness that enables humans to identify Natural Law and intentionally use it harmoniously. Yet intriguingly, it also enables them to use those laws in all sorts of ways they would not naturally manifest on their own. By itself, nature produces elements and substances such as iron, electricity, rubber, and combustible chemicals. But it takes human ingenuity and creativity to first imagine and then actualize combining these into a Ferrari.

The natural neteru dont go out of their way to make Ferraris. Set does.

But thats still not the whole story. This book tells the rest of it.

What happens when Set, or Set-inspired humans, start tinkering with Natural Law? You get mathematics wherein 2 + 2 no longer equals 4, art and architecture that seem impossible, music that your ears cant believe they heard.

Some of this stuff is amusing and entertaining: listening to a Charles Ives symphony or viewing M. C. Eschers drawings. NonNatural sthetes have even built themselves Klein-bottle homes with no inside/outside, as the curious may easily discover with an internet Google search.

But where it gets really weird is in the effects of such NonNaturalism on consciousness itself. Ones mind and brain are accustomed to function amid rigid, reassuring regularity. Knock this skeleton away and the result is absolutely independent, unconstrained creative power, which the pedantic might mistake for insanity.

The first artists to realize and explore this realm were the Expressionists of the early twentieth century, most famously in Weimar, Germany. Hence the stunning and shocking impact of films such as The Cabinet of Dr. Caligari, The Golem, and Metropolis. The first performance of Stravinskys Rite of Spring in Paris resulted in an audience riot and the orchestras percussionist famously breaking his drumsticks over his knees because of the blasphemy they had helped to create. It was scarcely surprising that a few years later Expressionism would be suppressed in a near-hysterical reactive rush to neorealism. Horror writers such as H. P. Lovecraft and Clark Ashton Smith were prescient to see in NonNaturalism a panoply of terror far greater than the old imagery of vampires and werewolves. Along with their tales came a bibliography of forbidden books, telling the courageous (and usually fatally foolish) reader how he may gett beyonde Time &ye Spheres.