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The occult mind: magic in theory and practice

2007, Journal of the Fantastic in the Arts

Abstract

At the heart of Christopher Lehrich's The Occult Mind several theses are articulated: that the works of certain occult thinkers are in need of reassessment in light of their intellectual proximity to contemporary theoretical debates, that the "problem of occult analogy" may be seen to haunt the structural anthropology of Lévi-Strauss and its heirs, and that the question of "magic" is in need of urgent theoretical rehabilitation given the foregoing propositions. Each of these notions is pursued in order to explicate a more general problem for historians: Is it possible to overcome the distinction between historical and morphological methodologies in regard to the study of "esoteric" texts? At several points Lehrich posits that the solution to this methodological problem "would require a spell" and it is only at the end of the book that one realizes that that is precisely what he has done -The Occult Mind appears as nothing less than a twenty-first-century grimoire, a book of incantatory power for anyone interested in the tradition of Western esotericism and its recent academic legitimation.

Key takeaways

  • With a nod to John Crowley's novel of the same name, Lehrich proceeds to argue for the enduring persistence of this enigmatic otopos, for /Egypt is not only the (mythical) origin of the Hermetic texts and a Golden Age when the ancients were in possession of the secrets of the universe, it is also the fantasy of the "unimaginable rewards" of high scholarship and the pursuit of knowledge.
  • The chapters that follow pursue a fascinating zigzag path that leads us through John Mitchell's "ley lines" and Atlantis (an atemporal topos closely allied to that of /Egypt); the "reactualization" of Giordano Bruno's world view in the work of Dame Frances Yates and the consequent "magical" aspect of her comparative methodology; a comparison of Bruno's epistemology with that of structural linguistics; a decidedly eccentric but nevertheless brilliant reading of John Dee's Hieroglyphic Monad in terms of the ritual ontology of Japanese Noh theatre ("We need a new perspective," writes Lehrich); and an account of Athanasius Kirchner as a precursor of the comparative and structural tradition.
  • However, when one reads "Magic works by analogies and comparisons, yet at the same time it attempts to think itself and in such a way that it might escape its own formulations" (175), one realizes that The Occult Mind is itself an act of magic as Lehrich conceives of it; it is a new kind of magical papyrus for the new millennium, a new conception of "magic."
  • If one can provisionally accept the idea that "magical thought" is at the very least a defining aspect of the literature and arts of the fantastic, then Lehrich has forcefully articulated the case that the history of human thought, of philosophy itself, is riven through with the fantastic as a differential principle.