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For everyone interested in the Crowley/Harris Thoth deck, there is an important article at Tero Hynynen’s blog Tarotpuu. He reproduces a 1942 lecture by Lady Harris at the Sesame Club in which she speaks in some detail about the artistic choices made in certain cards. The Sesame was one of the few fashionable clubs open to both men and women and had welcomed American poet Edith Sitwell only a few years earlier. According to Harris, Death “has to suggest the idea of reincarnation, as opposed to putrefaction, he is weaving with his scythe a geometrical web of new forms.” She explains that while Water and Cups “typifies compassionate, receptive soothing ideas, its plenty is an over-copious endowment which destroys effort and it leads to a luxuriousness in which creative self-consciousness is lost.” Finally, the Fool is supposed to be the Pierrot of the Commedia dell-Arte.
I mention these only to whet your appetite, for Tero’s post contains much much more, as well as a larger version of this rare portrait of Lady Harris. You can also find a short account of her 1945 lecture at the Tomorrow Club here.
This music video features the Thoth Tarot laid out on a lazy susan (good idea!) at 2:45.
The Tarosophist International: The Magazine of Tarosophy is a new journal put out by Tarot Professionals. The Special Annual Edition features the Thoth Deck—Issue Four (1:4). It’s available in hardback and consists of 146 fully illustrated pages with articles by Rachel Pollack, Lon Milo DuQuette, Mary K. Greer, Richard Kaczynski, K. Frank Jensen, Marcus Katz. A must-have for anyone (beginner or expert) who wants to know more about the Thoth deck, Read the rest of this entry »
Phantasmaphile Presents: Layered Orders: Crowley’s Thoth Deck and the Tarot, a personal narrative by artist Jesse Bransford, at Observatory, 543 Union St., Brooklyn.
“In an image-soaked personal narration Bransford, whose research-based artwork has delved into many of the territories Crowley sought to unify, will discuss some of the basic concepts of Tarot symbolism, returning to Crowley’s deck as among the most total example of the cards’ syncretism and as the most controversial.”
Bransford is a Master Teacher and Undergraduate Director at New York University where he has been teaching since 2001, as well as a member of the European Society for the Study of Western Esotericism. See some of his Tarot and Qabbala-based art here.
If anyone from here goes, please post us a report in the Comments section.
There’s a professional video biography of Aleister Crowley available in 5 parts on YouTube – here. Despite a few attempts at balance, it strongly emphasizes the most shocking and depraved aspects of Crowley’s life and works. Unfortunately (or fortunately) there’s nothing about tarot in the film.
To get the other side, and perhaps erring on the side of sweetness, try this commentary featuring Lon Milo DuQuette – here.
Check out these art exhibits featuring the art of Aleister Crowley and Frieda Harris – here.
Frieda Harris’ alternate versions and sketches for the Thoth deck can be seen here. Harris’ use of Synthetic Projective Geometry and friendship with Olive Whicher is here. A bio of what little is known about Frieda Harris is here. (Note: Harris spent her most of her last years in India.)
A collection of the letters between Crowley and Harris regarding the creation of the Thoth deck are available here.
A feature film on Crowley written by musician Bruce Dickinson is scheduled to open this month. In this supernatural occult thriller, the spirit of Crowley possesses a modern Cambridge professor (Simon Callow). I don’t know if there is any tarot in it. See the trailer (which I’ve heard is better than the movie):
Added: the official website – here.
Hear Bruce Dickinson talk about making the film here.
Read a review of the film by Ivor Davies here (warning: spoilers): “This is the crux of the problem that this film has – just what would someone possessed by the late Aleister Crowley do all day long? ‘Sex and murder’ unfortunately is this film’s disturbing answer.”
An interesting article on how Crowley has been fictionalized in literature can be found here.
An issue came up on one of the forums about which is the best book from which to learn about the Crowley-Harris Thoth deck. The answer for almost everyone is, without question, Aleister Crowley’s Book of Thoth. This, despite the fact that, for most beginners in esoteric studies, it seems impenetrable. Books by Duquette and Banzhaf are proposed as intermediaries and I agree they are excellent choices, but a problem occurs when Angeles Arrien’s name comes up. Her Tarot Handbook: practical applications of ancient visual symbols takes a completely different approach to the deck, which is often characterized as the “make up anything you want” variety—though it isn’t that at all. I should mention I took several classes with Angie on the Thoth deck starting in 1977, and so I’m not at all objective in my views.
Angie’s approach is based on Jung’s theory of the collective unconscious and the meaningful repetition of archetypal images and themes across world-wide human cultures. The statement by Arrien that probably infuriates people the most is: “I read Crowley’s book that went with this deck and decided that its esotericism in meaning hindered, rather than enhanced, the use of the visual portraitures that Lady Frieda Harris had executed.” Of key importance was that Arrien experienced a powerful response to the deck that did not arise from an esoteric OTO or Golden Dawn background. It was not specifically a rejection of Crowley, though it is easy to take it as such.
Instead, Arrien recognized most of the symbols from her study of anthropology and mythology. As a result she felt that “a humanistic and universal explanation of these symbols was needed so that the value of Tarot could be used in modern times as a reflective mirror of internal guidance which could be externally applied.” She believed that the Thoth deck symbols could be read in an other-than-esoteric way—specifically, as cross-cultural psychological symbols (archetypes from the collective unconscious). Her book offers this alternate perspective, based on the work of Carl Jung, Marie Louise von Franz, Joseph Campbell, Ralph Metzner, Mircea Eliade and Robert Bly.
In essence, Arrien asked: What do these symbols tell us if we strip away the esotericism and look at them purely as symbols and archetypes from the collective unconscious reflecting myths and images that have appeared across many cultures?
I see this simply as an alternate reading of the deck—not as a demand that we discount Crowley—but, rather, asking what can be seen if we do ignore Crowley? Is there anything else to this deck? Do real ‘true’ symbols transcend fixed definitions? Can they transcend any and all dogma?
We might also ask: If Crowley’s book were lost (along with all other esoteric texts), would future generations be able to reconstitute and find anything meaningful in these 78 images? Would this deck still offer something capable of informing our thoughts and actions?
It turns out that this is a valid question, for at least one person involved in the online discussion (and perhaps many others) felt that the Thoth deck is based on a specific language of symbols, defined by Crowley, such that, without his text the symbolism and the deck become meaningless. To remove Crowley, then, is to kill the Thoth deck—to make it worthless. In fact, as explained to me, symbols contain no meaning outside of the stated definitions of an individual. Strip symbols of definition and they either convey no information or they mean anything one likes.
This is absolutely contrary to the understanding of symbols held by such people as Carl Jung, Joseph Campbell, the French magician, Eliphas Lévi, and countless others who have written extensively on symbolism and who believe that the meaning of the symbol is inherent in its nature. “Symbols can thus be understood as metaphors for archetypal needs and intentions or expressions of basic archetypal patterns . . . which are ultimately inherent in the human mind-brain” (Anthony Stevens, Ariadne’s Clue: A Guide to the Symbols of Humankind).
Furthermore, symbolism is a sacred, living language that reflects divinity through like vibrations. From this principle arose the occult ‘doctrine of correspondences,’ which says that something that is red, for instance, shares some kind of energy and meaning with other things that are red. Thorns that pierce are the protective weapons and barriers to the alluring rose whose scent also draws the bees. Even an esoteric interpretation takes such elements into account.
Many spiritual teachers do not fear the subjective, for they see each person as partaking of the Divine. The esotericist Manly Palmer Hall wrote in The Secret Teaching of All Ages: “Like all other forms of symbolism, the Tarot unfailingly reflects the viewpoint of the interpreter himself. This does not detract from its value, however, for symbolism is one of the most useful instruments of instruction in the spiritual arts, because it continually draws from the subjective resources of the seeker the substance of his own erudition.”
Certainly Crowley’s erudition is great, and we benefit from the knowledge that he put into the Thoth book and deck (his book is magnificient!). But, if we stop there, we have not done our own work. There may be other interpreters of the Thoth deck who can also point us down what has been called “the royal road” of Tarot. Still, eventually we must make the path our own—there’s no getting around that.
The Egyptologist, R.A. Schwaller de Lubicz in Symbol and the Symbolic tells us that symbols are different than an abstract alphabet in that we can reconstitute their meanings: “Any manner of writing formed by means of a conventional alphabetical, arbitrary system can, over time, be lost and become incomprehensible. On the other hand, the use of images as signs for the expression of thought [hieroglyphics] leaves the meaning of this writing, five or six thousand years old, as clear and accessible as it was the day it was carved in the stone.” In The Temple in Man, Schwaller de Lubicz talks about the living quality of the symbol that can not survive too rigid of a definition: “To explain a symbol is to kill it; it is to take it only for its appearance; it is to avoid listening to it. By definition, the symbol is magic, it evokes the form bound in the spell of matter. To evoke is not to imagine. It is to live, live the form.” (See Schwaller’s Egyptianized Tarot Trumps here.)
Most of all I appeal to Oswald Wirth who created the first truly esoteric Tarot deck (1889; revised in 1926) that is a significant influence behind all that have followed. Wirth, in Le Symbolisme Hermétique (translated by P. D. Ouspensky), wrote that symbols are meant to awaken us to our own freedom:
“Each thinker has the right to discover in the symbol a new meaning corresponding to the logic of his own conceptions. As a matter of fact, symbols are precisely intended to awaken ideas sleeping in our consciousness. They arouse a thought by means of suggestion and thus cause the truth which lies hidden in the depths of our spirit to reveal itself. . . . They especially elude minds which . . . base their reasoning only on inert scientific and dogmatic formulae. The practical utility of these formulae cannot be contested, but from the philosophical point of view they represent only frozen thought, artifically limited, made immovable to such an extent, that it seems dead in comparison with the living thought, indefinite, complex and mobile, which is reflected in symbols. . . . By their very nature the symbols must remain elastic, vague and ambiguous, like the sayings of an oracle. Their role is to unveil mysteries, leaving the mind all its freedom.”
“. . . Leaving the mind all its freedom.” It saddens me that the fears and anger provoked by Angeles Arrien’s book indicate a deep mistrust that the Thoth deck can survive the common touch of the “masses,” or that it has any worth whatsoever outside of Crowley’s text. It is felt that the mistakes and misconceptions in Arrien’s book (of which there admittedly are many) could create a devastating sense of betrayal in those who eventually find out that Crowley intended something different. This supposedly-fearful juxtaposition, however, led me to a much deeper appreciation of Crowley, while Angie encouraged independence and freedom in how I work with the deck and its symbols (not a good thing to those who see Crowley as the absolute and only fundament).
Although Crowley professed love for “the scarlet woman,” yet he feared the prostituting of his work, insisting that the deck and book always be sold together (it isn’t) and describing the deck’s potential use in fortune-telling as being a base and dishonest purpose (here -see text at the end). In fact, it seems that Crowley feared even the thought that anyone might claim independent insight into his deck for, despite her working diligently for five years with him to produce the deck, Crowley made clear that his student and artist, Frieda Harris, at no time contributed “a single idea of any kind to any card, and she is in fact almost as ignorant of the Tarot and its true meaning and use as when she began.” What hope is there, then, for the rest of us?
But, hope does exists, for the ever-contradictory Aleister Crowley (using the pseudonym “Soror I.W.E.“) wrote in the introductory biographical note to the Book of Thoth, that “the accompanying booklet [this book] was dashed off by Aleister Crowley, without help from parents. Its perusal may be omitted with advantage.“ And Frieda Harris’ innovative use of Steinerian ‘Synthetic Projective Geometry,’ described here, certainly deepens the effect of its imagery on the psyche.
I can only hope that, if you care about the Thoth deck, that each of you are brave enough to make up your own minds and feel free to “do as you will.” I leave you with this thought from old Aleister:
All ways are lawful to innocence.
Pure folly is the key to initiation.
Addendum: An interesting look at how Crowley has been fictionalized in novels both before and since his death is found here.