So I walk on uplands unbounded, and know that there is hope
for that which Thou didst mold out of dust to have consort with things eternal.

- The Dead Sea Scrolls

Of what use is ceremonial magic ritual?

Even if one accepts the premise that "there are more things in heaven and earth than are dreamt of in our philosophies", do not the mechanizations of ritual magic seem quaint and antiquated? How can we go about performing magic rituals without feeling somewhat foolish? Is there some other point to it all than the mere acting out of a rather childish fantasy world?

Yes, there are indeed very good reasons to learn and practice the Art of Ritual Magic, even from a totally empirical point of view. There are a great many practical advantages to be realized from the practice. Far from negating the premises upon which the usefulness of ritual magic rests, modern science, particualrly psychology, supports many of the ideas encompassed in ceremonial work.

We will proceed from the premise that Magic is a part of our reality. We will accept the definition of Magic as stated by Aleister Crowley: "Magic is the Science and Art of causing change to occur in accordance with the will." A change is perceived by an individual as being desireable or necessary, and by an expression of magical will this change is induced to occur, without the direct, causal interaction with the object of the change.

It is foolish to think of Magic as being concerned with an ability to start fires with a glance or force slot machines to pay out jackpots by concentrating on them. From a purely logical viewpoint, if one had the power to do such things, one would hardly be expected to even care about doing them in the first place!

The most powerful and useful changes one can cause to occur are those changes wrought on yourself. Your entire universe begins with yourself, and any change you bring upon yourself with be reflected in the entire universe. Bring about the proper changes in yourself and the universe will be yours to command.

The Formula Of Magic

A careful survey of Magical traditions and techniques across various cultures reveals a common foundation. The "formula" of Magic can be reduced to this simple equation:

Will + Active Imagination + Gnosis = Magical Act

The use of ritual in the performance of Magical acts is universal because the performance of ritual is the most effective means to accomplish all three of the requirements of the Magical act simultaneously. These three things can be called the Keys Of Magic.

The times when magic has worked best for me, in terms of getting the results I was aiming for was: when I needed something REALLY bad, (will) I devised a very impressive way to express it (imagination), and was able to launch myself into an intense gnosis state (you get it...)

Will

The first Key Of Magic is Will. Will itself is a magical phenomenon. Though modern science can scan the brain and locate the points at which nearly all types of thought originate, "Will" cannot be traced. A subject can be wired to sensitive detectors and told by an experimenter, "Lift your hand". When the subject complies, the detection apparatus will locate the brainwave patterns that originate the impulses that travel down the nerves to the muscles, but the original "event" of _willing_ the hand to move does not appear on any known scan. As soon as the motor-control section of the brain goes into action, the impulses begin their journey. Logic indicates that the "willing" of the hand to move _must_ preceed the commencement of the impulses themselves. But the brain action of this "willing" cannot be found!

We will not explore the deep ramifications of this fact here. For our purposes, it is enough to say that Will cannot be detected or directed by conscious means. There is more to Will, even in the more limited definitions of the concept, than mere desire. To simply WANT something is not the same as Willing it.

The power and function of Magical Will is often, as Spare put it, "believed by taking it up as a hobby at a time of great disappointment or sorrow." Such was the case in my own experience. There is something about being driven by great need or fear of consequences that can spark the Will into manifestation. Once this is accomplished under such duress, the experience can often be "recaptured" later and brought under control.

Directed Will is more than simple "positive thinking", which is entirely a function of the conscious mind. Not that positive thinking isn't useful, but magical Will is far more powerful, when used in conjuction with the other three Keys.

Crowley built an entire religious philosophy, called Thelema, on the concept of True Will, which is roughly defined as being a particular person's "real purpose" in life, whatever that may be. This is not to be confused with what one simply wants in life -- in fact, one's wants or desires might be in actual conflict with one's True Will. The most important thing in life, according to the doctrines of Thelema, is discover one's True Will and follow it. If everyone did this, then no one would be in conflict with anyone else and the world would function with clockwork perfection.

It's obvious that this is a religious concept, as one must simply have faith that the above description is true, without any way to demonstratively prove it. So if the reader is interested, refer to the many available books on Thelema. Chaos Magic is not concerned with religious dogma. So although the books on Thelema also capitalize the word "Will", they do so to indicate "True WIll" as defined by their religion. In the case of this book, it is to distinguish "Magical Will" from mere desire.

But for one's desire to become magically effective, it must be accepted by the subconscious mind as well as the conscious -- or even instead of the conscious -- mind. This is how "will" becomes "Will". Therefore a way must be found to "implant" the magician's desire into the subconscious where it can be effective. This procedure is most clearly demonstrated by the mechanics of sigil magic. However, this is the end to which all magic ritual -- regardless of it's source -- is directed.

The traditional magical systems did this by first indoctrinating the new follower into the system's philosophy and symbolism, then building more-or-less effective ritual formulae on that framework. Of course, this means the student must accept this symbolism and belief-set on faith -- making it again a religious endeavor. As with any magical form, the mind must be twisted into accepting a ludicrous belief system. What is different about Chaos Magic is that the ludicrous belief system is chosen temporarily and voulentarily, and then abandoned after the work is done so a different one can be adopted next time.

Sigil Magic is popular with Chaotes because it uses the symbolic system that one is already indoctrinated with -- one's native language. And although it is very effective even in it's simplest forms, it can be used as the foundation of a more elaborate ritual working to make it even more effective.

The point of it all is that desire can be converted into Will by means of ritual magic.

Imagination

Imagination is a requirement for any artistic endeavor, and magic is no exception. Chaos Magic demands a LOT of imagination, because you're not going to be spoon-fed everything you need to know. However, beyond imagination in the general sense, a particular type of imagination is needed; this is what Karl Jung called "active imagination".

The kind of imagination that is magically useful is that which the magician uses to induce self-directed visions, emotions and belief-states. Simply put, it's imagining something so strongly that it actually becomes "real." The banishing rituals described in the chapter on basics use this kind of imagination.

The goal of magical imagination is to induce BELIEF. As discussed in previous chapters, this is the "mental/linguistic" level of magical function. Belief is a function of the subconscious, rather than the conscious mind. To manipulate the Will one must be able to manipulate belief. To manipulate belief, one must manipulate the subconscious. It is to this end that the symbology of Magic Ritual work is directed.

Probably the most important concept in Chaos Magic is that of meta-belief. This is defined as a "belief structure" that encompasses all other belief structures. In practice, it is the ability to manipulate patterns of belief into pre-determined structures that are magically useful.

The art of Method Acting, as studied by millions of aspiring thespians, is concerned with exactly the same psychological mechanism. The would-be ceremonial magican would do well to study the works of Stanislavsky and Strassberg.

Method actors are famous for "researching" their roles. If one is to play a prisoner, they might arrange to be locked up in a jail for a few nights. Or if the role is a hunter, they go on a hunting trip with an experienced guide. They try to imprint the emotional reactions to these alien environments into their minds so those reactions can be recalled later during performance.

Magicians will often incorporate such environments directly into their work if possible. Operations concerned with the elemental symbolism of Water might be performed on the shore of the sea, for example. I have performed or assisted in operations that involved full water immersion, leaping naked over bonfires, burial under stones, tattooing, piercing and branding with hot irons, drawing and drinking of blood, escape from graveyards at night, full body mumification, and enactment (with full "costume") of the magician being devoured alive by ghouls. All for the sake of invoking a particular set of emotional reactions for magical purposes.

Gnosis

The concept of gnosis has been discussed in previous chapters, but in ritual work it's put into actual use. The ritual is designed so that gnosis can be acheived either as an integral part of the procedure, or a "space" is provided to allow for the magician to attain the gnostic state. All of the ritual up to that point has been carefully constructed to both distract the conscious mind, and prepare the magical intent to be implanted into the subconscious when the gnosis point is reached. This is the basic "formula" for effective magical ritual.

Since there are many, many ways one can achieve the gnostic state, the technique used should be compatible with both the style of the ritual work and the goal of the working itself. Mismatching the means by which gnosis is attained with either of these considerations can not only be ineffective, but detrimental to one's magical development and even one's mental health. For example, gnosis obtained by sexual exhaustion may be appropriate to workings of desire and passion, but highly inappropriate for empowering curses.

Constructing a Ritual

Inspiration for a magical ritual can come from just about anywhere, and be as simple or complex as one desires. It can be instructive to study published ritual workings form various sources, keeping in mind the formula described above. Think of it as if you were writing a play with a particular audience in mind -- yourself. Accordingly, whatever is most likely to impress you will be most effective.

It's probably best to start out practicing completely alone, so that you're neither embarassed about performing in front of others, nor trying to impress others with your performance. You'll probably feel pretty silly at first, but this is quite normal -- don't let it stop you! There's no one around to critique you, and nothing "bad" is going to happen if you don't do everything perfectly -- the worst that will happen is, well, nothing.

If you've been practicing your banishing ritual and setting up your magical space, then you're likey used to dressing up in the silly clothes and babbling the nonsense so that you're feeling more comfortable with it. Now it's time to try some more elaborate stuff.

Whether your performing something you composed yourself, or from some other source, it's always best to memorize anything you have to recite. A wise person said that any ritual that cannot be easily memorized is in need of simplification. But for practice sake, or even for performance if the memorization is just too difficult for you, write or type out the text to be recited in large letters (to be legible in dim light) and place it on your altar where it can be read without having to hold it in your hands. A compromise is to make up some "cue cards", like regular 3x5 index cards, with the text written out and stacked in order, to be referred to if needed.

Prepare everything you need in advance so that once you begin, all of the required items are easily within reach. As with any operation, take steps to insure you will not be disturbed until it's over.

As for mistakes during ritual work: it's going to happen. It happens to even the most experienced ritualists. Don't worry about it! It's more important that the overall "flow" of the work is not disturbed, and freaking out over skipping a step or mispronouncing a word is far more disturbing than any mistake can be. The most important thing, as any stage actor can tell you, is that you don't stop! Carry on through to the conclusion as best you can before fretting over errors, unless a real disaster has occurred (like setting your robe on fire...)

Ritual and Emotional Memory

One of the most useful things about ritual is that as one becomes more experienced with it, certain actions, sounds, scents, images, etc. become connected in the subconscious mind with certain active emotional states. This is emotional memory, and it can be put to practical use by the canny magician.

The training of a method actor involves learning to control and utilize one's emotional memory. In recent years, some of the tools of the method actor have found their way into the practice of certain kinds of psychotherapy.

Psychodramtic ritual can be magically useful as well. What follows is a description of a method to formulate a personal "banishing" ritual using these techniques.

The basic foundation of this ritual is the traditional Banishing Ritual Of The Pentagram, with it's emphasis on the four cardinal directions and relating them to the traditonal "elements" of Fire, Air, Earth and Water.

Which direction relates to which element is really an arbitrary decision. To the Ptolemic Greeks of Alexandria, where the idea originated, it was likely related to their geographic situation. Fire was to the south, because it obviously got hotter the further south one went. To the east lay the arid, wind blown expanse of the Arabian desert. To the north was where the silt of the Nile provided the fertile earth for growing food. To the west lay the great sea, a seemingly endless expanse of water.

The arbitrary nature of these "elemental directions" is obvious. Below the equator, it gets colder as you go south, not hotter. In fact, the seasons themselves, thought to be so archtypical and "sacred" to Wiccans and other neo-pagans, are completely reversed! So one is completely free to reinterpret the elemental directions if so desired. (But for the sake of example, we'll stick with the traditional directions for now.)

In fact, it's far more useful to make use of what mental/linguistic states are represented by the classic Elements then their old pagan attirbutes. This could be described as follows:

***[Variation of GT with elemental focus here]***

Ritual Framework for Results Magic

The basic framework I use for developing rituals is as follows:

1. The magical space is declared. A banishing or opening procedure is performed, and the operator adopts a state of mind suitable to the work.

2. A statement of intent is pronounced. This is very important. When working with magic, one must be able to define one's will, in simple and unambiguous terms. Ambiguity and imprecision are likely to be rewarded with negative results. If your lucky, this means nothing will come of it. If you're not so lucky, the results will have a negative impact on your life -- an object lesson in "be careful what you wish for, you might get it."

3. The ritual action is performed. This is designed to accomplish both the distraction of the conscious, discursive mind and the expression of the intention in symbolic terms the subconscious mind can recognise. This can allow for much variation, from the simple construction of a sigil out of the statement of intent to an elaborate procedure of symbolic actions that embody that intent in psychodramatic terms.

4. The condition of gnosis is achived. In a well constructed ritual, there is a natural progression of the ritual action into the action required to induce gnosis. Generally the ritual procedure leads up to a certain point and segues into whatever mechanics are involved in obtaining the gnostic trance.

5. After recovering from gnosis, the magical space is closed. The ritual action should be brought to a definite conclusion, for both artistic and psychic reasons. Then the magical space is "destroyed", so that the subconscious mind is temporarily sealed and the magical intent is allowed to inculcate without distraction or interference.

I strongly endorse a particular practice very common among Chaos Magicians -- banishing with laughter. After performing the final and closing move in a ritual, throw your head back and have a BIG LAUGH. Laugh at yourself, at the silly words and gestures you just finished doing, at the whole insane business of ritual magic itself.

This serves a number of purposes. It draws a sharp distinctive line between ritual time and non-ritual time. To use meta-belief as a tool, you must be careful to cast away the mind set you adopted to perform a particular rite as soon as you're finished. Method actors are taught they must not try to remember lines they memorized for their performance after they show has closed. (There's a reason why their profession is known to have more than average psychological problems.)

Also, when the subconscious has been recently opened and implanted, it tends to remain somewhat suggestable for a while, so it's not a good idea to have anything else being leaked in. Laughter is the mind's most accessable defense mechanism, and invoking laughter "slams the door" on the subconscious. This let's the implanted magical intent to settle in without confusion or interference.

The examples given here are actual rituals I have personally performed, and from which I have manifested the desired results. They have also been used by at least one other person who has also manifested the desired results. However, there are no guarentees. Elements like the depth of gnosis and the effetive implantation of the will into the deep mind are turbulent variables subject to the dynamics of Chaos, which by definition can't be predicted. But the formula is sound and has been shown to be effective. The only way to find out for yourself is to TRY IT and draw your own conclusions.

Here's an example of an derivative ritual work of my own which draws inspiration from a traditional magical system -- in this case the practices of Voodoo.

I got the invocation (the part spoken "to the gods") from an old book about Voodoo practices (except for the last three lines, which I composed myself.) I can't be sure if the source was "authentic" or not, but I liked the sound of it. The original version called for a lot of drumming, trance-dancing and rum drinking, which could be incorporated into a performance if your so inclined. It also used garlic cloves for the actual charm, which I replaced with a sigil.

The Halo Charm

The word Voodoo is composed of the words Voo (translation: introspection) and Doo (the unknown). The collection of religions generally lumped together under voodoo is also known collectively as the "Cults of the Orishas (saints)."

The Verdoun, Santerea, Macumba, and Candomble religions of the Carribean and South and Central America are variations on the same "roots;" the Lucumi religions of Southwest Coastal Africa. The unfortunate persons captured, enslaved and taken to the Americas in the 16th and 17th centuries by the Spanish and Portuguese were faced with insult added to their injury; they were forced to adopt Catholicism or die.

However, the Africans outwitted their captors by adopting the Catholic veneration of saints as a cover for the continuation of their native religion. Their religion thrives to this day.

Many of the practices of Verdoun can be described by the term "Kitchen Magic;" simple spells, charms and amulets meant to ease the passage of the practitioners through their everyday lives. Considering their lot in life, the originators of the Orisha Cults needed all the help they could get!

This working creates a talisman of charisma, a fetish to be carried on one's person when going before a powerful or influential person in order to be granted some boon. Instead of the traditional slice of garlic used in the original Voodoo rites, we will substitute a sigil charged by means of chanting a mantra over a spinning stone (a common central altar piece in Verdoun temples.)

Music is an important part of Voodoo practice, especially trance drumming, which can greatly enhance a gnostic state. If no hand drums are available (or the participants are totally inept as drummers) a recording of drum music can be used, especially recordings of authentic Carribean drum music. Or use both, with the participants playing along with the recording.

This ritual can be performed alone or as a group. In group settings, a single person is appointed the H'ougan or Mambo (male or female leader) who recites the invocation and performs the first charging of a sigil, followed in turn by the other participants.

Since this ritual calls for drawing a drop of blood from the finger, a STERILE needle, scalpel or razor knife should be used, or a medical lancet sold by drug stores for diabetic testing.

Materials:

- Yellow paper

- A black pen

- Blue felt or velvet

- Needle and thread

- Blood drawing device

- A stone disk set upon a rotating base (a "lazy susan".)

The Rite:

1. Graphic sigils are prepared from the statement of intent given below. They should be drawn in black ink on yellow paper. A sigilized mantra to be chanted over it is simultaneously derived.

2. Statement of Intent: "It is our will to create talismans of Charisma, to be used to bring favor from those who can grant our desires."

3. The invocation is recited:

4. If music or drumming is used, it begins and continues thoughout the following procedure. Each participant draws a drop of blood from the thumb and places it on the sigil. One at a time, each sigil is placed upon the spinning stone and rotated clockwise, with the participant keeping his or her eyes fixed upon it as he or she does so. This is the point at which gnosis is to be achieved. This can be supplimented by taking the sigil from the stone after it has rotated several times, holding it in front of the eyes, chanting the mantra and spinning in place until severe dizziness and collapse ensues.

5. After gnosis is achieved and the sigil is charged, it is taken from the stone by the participant, who returns to hir place while continuing to chant the mantra.

6. When all have completed their turn at the spinning stone, the sigils are folded and placed into a square of blue velvet or felt, which is then sewn shut.

7. Banish by laughter.

The charm should be carried on one's person, against the skin (but unseen) when it is necessary to influence someone who has the power to grant one's desire.

--------Now let's analyze this ritual and determine the underlying factors that make it effective.

Simply speaking, it is an elaborate procedure to accomplish the charging of a sigil for a specific purpose. The colors of the sigil and the bag were chosen to be symbolic of the operation of the sigil: the sigil is black (dark, hidden influence) imposing itself on the yellow (ego, conscious mind) -- a hidden influence on the consciousness of another person. The Jupiterian blue represents expansiveness and generosity.

The statement of intent clearly defines the purpose. The invocation is a means to distract the conscious mind with a meta-belief device; this suspends disbelief and allows the consciousness to be occupied with names and images of the Orishas, thereby opening the subconsciousness for implantation. The chanting, the drumming, the concentration on the spinning stone (and the induction of dizziness) is the manner by which gnosis is achieved. Sewing the sigil into the cloth takes the place of the more usual burning or destruction of the physical form, and allows it to be "summoned" (by carrying it unseen) when it's psychological and magical effect is needed.

The Halo Charm ritual is an example of a magical working done to accomplish a specific effect in the "outside world". The following example is one designed to induce a change in the inner psyche of that magician. It's also one that is entirely original, in that I borrowed nothing from any traditional system or texts.

This ritual also introduces another "strange attractor" in magical work -- the use of "barbarous incantation", which calls for a bit of background information.

Barbarous Tongues

"Magic words" have a long and colorful history in the occult. Almost every system of magic makes some use of strange sounding words and names, often accompanied by dire warnings about "correct" pronounciation. Mispronouncing a magic word is seen as an invitation to disaster. Since Chaos Magic is not beholden to any tradition, including pronounciations, this is not a consideration.

In terms of Chaos Magic, barbarous incantation describes the use of a unknown or unfamiliar language or jargon as a slight-of-mind trick to distract the consciousness. Even Aleister Crowley acknowledged that the real intent of barbarous incantation is to heighten and expand the trance-inducing effect of ritual work. In Magick In Theory And Practice, he wrote:

"It is therefore not quite certain in what the efficacy of [barbarous] conjurations really lies. The particular mental excitment required may even be aroused by the perception of the absurdity of the process, as when once Frater Perdurabo [Crowley himself], at the end of his magical resources, recited "From Greenland's Icy Mountains" and obtained his result.

"It may be conceded in any case that the long strings of formidable words which roar and moan through so many conjurations have a real effect in exhalting the consciousness of the magician -- that they should do so is no more extraordinary than music of any kind should do so."

What seems to make barbarous words operative (beyond the purely "hypnotic" effect) from a magical viewpoint is that they can be used as "sigils". The operator knows subconsciously what they're supposed to mean, but the conscious mind is distracted and confused trying to literally decipher them as they are being pronounced.

There are many barbarous "languages" throughout the history of magic. One famous tradition, Enochian Magic, has an entire vocabulary of words. Certain Chaos Magic groups make extensive use of a constructed vocabulary of barbarous words called "Ouranian", although the concept behind Ouranian is that anyone can create Ouranian words by inducing a trance state and deriving them in some "randomized" manner, like a Ouija board. One can build up an entire vocabulary of personal Ouranian words, which could be considered a literal variation on the Alphabet Of Desire concept described in the chapter on sigils.

Austin Spare used the simple technique of spelling words backwards to render them into consciously confusing but subconsciously effective barbarous incantations. We shall use this technique in the following ritual work.

This rite could be properly described as a working of "Black Magic", as black is symbolic of dissolution and transformation.

The Unbinding Rite

Background:

There are times in every person's life where an attachment has been formed that is no longer needed or desired, and in fact can cause psychological and psychic distress. The most common example would be the end of a love relationship, but undesired attachments can also be to platonic friendships, teachers, families, and even such things as certain times and places in one's life.

The Unbinding Rite is designed to bring such emotional/psychic attachments to a definite end, by symbolically "cutting the ties" that bind one to an undesired person, place or thing, and at that crucial point, inducing gnosis by using the instinctive fear of falling over backwards to drive the intent into the subconscious.

Materials Needed:

- Materials to create a graphic sigil

- Black candles

- A sharp dagger, with a way to hang it from a belt worn by the operator

- 25 feet of strong nylon rope

- A 12" square of black cloth

- A means to attach the rope to a strong support -- strong enough to hold the weight of the operator, such as a large eye-hook driven into a solid wall, or a support post that the rope can be securely tied around. There must also be at least 12 feet of clear space in front of the connection point.

The procedure of this rite calls for the operator to fall over backwards. To prevent injury, a couple of strong friends capable of catching the operator is strongly recommended. There is also value in the psychological effect of being "supported" by one's friends. If it must be performed alone, a cushion or mattress should be placed behind the operator to prevent injury.

Preperations:

A sigil is prepared to represent that from which the operator wishes to break away. In the case of a person, their name can be converted into a sigil by the graphic method.

The power of the rite can be enhanced by the use of a "fetish" constructed out of items that have a powerful connection to the relationship. For example, if it was a love affair one could use a letter, photograph, personal momento, etc. of the other person to create a small "collage", over which is fastened the sigil. Then the entire construction is attached to the wall or support where the rope is to be tied. If an eye-hook is used it can be driven directly through the middle of the sigil.

Finally, one end of the rope is attached securely to the support point, and the rope is laid out on the ground. The belt with the dagger is donned.

The Rite:

1. A banishing is performed, with emphasis on "sealing" the templespace from outside influence. The black candles are lit.

2. A statement of intent is recited:

Example: "It is my will to be set free from my attachment to _____________, which I no longer need nor desire!"

3. The rope is taken up, and tied securely about the chest. While doing so, the first incantation is recited.

(I am bound to you. Heart to heart, mind to mind, we are connected.)

4. The operator steps back, drawing the rope taut. The operator strains at the rope, and recites the second incantation:

(I am restricted. I cannot move or grow. This connection is no longer my will.)

5. The operator leans backwards, allowing the rope to support their full weight. At this point, those who would catch the operator should get into position. The operator draws the dagger and raises it, holding it over the taut rope. The third incantion is begun:

This is repeated, faster and faster, with deep inhaling and exhaling of the breath. The object is to attain a trance state via hyperventilation and emotional excitement. The operator allows all of the emotion wrapped up in the situation come to the surface, and feels the frustration and restriction that craves release. When the emotions reach a fever pitch, the dagger is brought down with force on the rope, slashing it in two.

6. When the rope breaks, the operator will fall VIOLENTLY backwards with surprising force. This will induce an involuntary reaction -- fear of falling -- with the attendent rush of adrenaline. This is the gnosis "flash" that empowers the rite.

7. The operator is caught and gently lowered to the floor. No attempt at conversation should be made until the he or she has had time to recover from the shock, and then only perhaps some small words of encouragement and support.

8. The operator unties the piece of rope from around the chest and casts it away. The sigil is taken down from the wall and burned with the flame from a black candle. The ashes, along with the pieces of rope, are tied into the black cloth. It should be buried in the ground before the next sunset.

9. Close the magical space and banish with laughter.

I leave it as an exercise for the reader to analyze the Unbinding Rite in the way the Halo Charm was analyzed for the underlying magical components.

Creating Your Own

By now there should be a pattern emerging, and if you can grasp it you can apply it in any context you like to create rituals. In ritual work, nothing succeeds like excess, so let the imagination run wild. Whatever you might need or desire in your life, you can find a symbolic expression of it and make it magically effective. Get ideas from books on the occult, even fictional ones. Rearrange and embellish them, keeping in mind the key elements you must include to make them work. Once you've had some experience building on what has gone before, make the leap to pure originality. Creativity really is the source of all magic.

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