- Author: Lon DuQuette
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About the Author
Lon Milo DuQuette is a preeminent scholar, magician, and speaker. The author of fourteen critically acclaimed books on magick and the occult, DuQuette is one of the most respected and entertaining writers and lecturers in the field of Western Magick. Visit him online at www.lonmiloduquette.ning.com.
Low Magick: It’s All in Your Head … You Just Have No Idea How Big Your Head Is © 2010 by Lon Milo DuQuette.
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First e-book edition © 2011
E-book ISBN: 9780738730325
Cover design by Kevin R. Brown
Cover images: background © iStockphoto.com/Selahattin Bayram;
brain © iStockphoto.com/Todd Harrison
Interior illustrations by Llewellyn art department, except: Pentagram of Solomon and Hexagram of Solomon on page 163 by Jacqueline A. Williams; Ganesha on pages 118, 122–123, 126, and 129–131 by Wen Hsu
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This little collection of memories, insights,
and embarrassments is lovingly dedicated to the members
of our Monday Night Magick Class past, present, and future.
“There is no truth, only stories.”
Zero First Let’s Talk about Fear
One The Dogma & Rituals of Low Magick (Dogme et ritual de la bas magie)
Two The Formula of Solomon
Three The Law of Attraction, The Power of Intent & My Date with Linda Kaufman
Four Family Secrets
Five My Planetary Talismans
Six A Weekend Alone with the Spirits of the Tarot
Seven A Midsummer Night’s Curse
Eight Astral Projection: Traveling in the Spirit Vision (or, Real Magicians Eat Quiche)
Nine That’s Not What Invocation Is About
Ten … And That’s What Invocation Is All About!
Eleven Pop Goes Ganesha!
Twelve The Rabbi’s Dilemma
Thirteen The Exorcism of Our Lady of Sorrows
Epilogue It’s All in Your Head … You Just Have No Idea How Big Your Head Is
Appendix I: My Brother Remembers Our Father
Appendix II: Apostolic Succession
The author wishes to recognize and thank the following individuals, whose encouragement and support over the years he shall always treasure: Constance Jean DuQuette, Jean-Paul DuQuette, Marc E. DuQuette, Judith Hawkins-Tillirson, Rick Potter, Donald Weiser, Betty Lundsted, Kat Sanborn, Patricia Baker, Chance Gardner, Vanese Mc Neil, David P. Wilson, Jonathan Taylor, Dr. Art Rosengarten, George Noory, Poke Runyon, James Wasserman, Rodney Orpheus, Robert Anton Wilson, Robert Larson, Brenda Knight, Sharon Sanders, Michael Miller, Michael Kerber, Jan Johnson, Brad Olsen, Janet Berres, Charles D. Harris, Michael Strader, Phyllis Seckler, Grady McMurtry, Israel Regardie, Helen Parsons Smith, Alan R. Miller, Ph.D., Clive Harper, William Breeze, John Bonner, Stephen King, and a very special thanks goes to Elysia Gallo and the wonderful team at Llewellyn Worldwide Ltd., for making this project such an enjoyable experience.
I am always at a loss at how much to believe of my own stories.
Next to silence, stories are the most divine form of communication. Stories are alive. Stories are holy. Stories are gods that create universes and the creatures and characters that populate them. Stories bring to life all the triumphs and tragedies imagination and experience can summon to the mind. Stories speak directly to our souls.
Stories are magick.
As I begin the seventh decade of my life, I find myself more inclined to listen to a story than to study a text or reflect on an argument—more inclined to tell a story than to presume to teach a lesson or offer advice. Perhaps it is because as we grow older we have more stories to tell, and experience and wisdom conspire to add dimension, texture, and perspective to the lengthening register of our memories.
For whatever reason, I find myself at this season of my life unable to approach the subject of this book from any direction other than relating my personal experiences. This is not to say that I haven’t integrated a great deal of theory and technical information within my nonchronological narratives. Indeed, I believe there is more than enough magical “how-to-ness” nestled within these pages to keep a motivated magician busy for some time. But it is the story that informs—the story that teaches—the story that reveals the magical “how-why-ness” (and in some instances, the “how-why not-ness”) of the magician’s life.
However, storytelling has certain disadvantages—foremost being the fact that memory is a fragile and subjective thing. Pain, regret, embarrassment, shame, wishful thinking, fantasy, and old-fashioned self-delusion constantly threaten the accuracy of our recollections of the past. Absolute objectivity is impossible. But unlike other mortals who lead less examined lives, the magician is obliged to keep a diary, and may refer to specific events recorded in his or her magical journals. I’ve relied heavily on my scribblings in the preparation of this book—a painfully embarrassing ordeal, I assure you.
Also, in the course of telling a magical story, one must consider the sensitivities and the privacy of other individuals, living or dead, who may be part of the action. Over the years I have been blessed to meet and work with some very wonderful and colorful characters, most of whom would not be recognizable personalities in our magical subculture, but a few of them I dare say