I was thinking about the shibboleth of L. Ron Hubbard’s name the other day and wondered how a man with such a strong symbol of love and compassion could have possibly been party to the Babalon story of 1946-’47 fame. Then it dawned on me…

At the time, Thelema was a big draw for the casual wanna-be’s who would have been oogling at such awesome creative fantastical icons as the Wonder Woman series and all of its perfectly supporting cast of characters. As a result, fakers would have been running amok. Time then for an update to the story of Jesus – in at least one faceted reflection.

When you’ve been Graced, the story of Jesus is a parable which you look at with a different perspective than you had before. Not just a new angle, but a new depth. When the story of Jesus Christ is observed from the structural height the parable unveils a cautionary tale for future prophets. “Do not do these things or else you risk death,” is the message.

What about modern man in the 1950’s? Without the risk of stoning or crucifixion the parable of Jesus Christ’s life loses some of of its obvious benefit to a person who is right-on-time – a prophet. Instead, financial wealth, love wealth and magical wealth are presented as the aims and, ultimately, the vacant pitfalls.

Miss Cameron never sells her art. It doesn’t become fashionable until after her death. The writer never gets his love. In fact, he is still reeling from his broken marriage. He should not have walked away from his ex-wife the Muse. And the rocket scientist who did not consider that balloons might be a much more meaningful way to launch spacecraft and satellites doesn’t get to look back on his life of excess with smug uncertainty. He gets blown up by a symbol of his own personality.

The Babalon and Moon Child story is a masterful cautionary tale at the structural perspective. Do not do these things or else your life will be meaningless and void of the wealth that you seek.

Structure, Detail and Facets – Reflection of the Present Day Mindset

The Structure

Unlike the story of Jesus Christ the structure of Mr. Hubbard’s story does not impart a meaningful message. Which is perhaps its most important truth telling. Perhaps as an insulting truth to modern men who do not consider structure apart from detail perspectives when thinking about a story’s meaning it insinuates a precaution to serving a public with decreasing thought facets with parable.

The meaning is further deconstructed by reflection of the power/communication flows that do not resonate while cycling as the flow of the Christ writings. For instance, the flow from Jesus to his Apostles and back again is an encapsulation that together and separately flow outward to the world they live in. The crowds that show up to hear them and the population of the faithful take his meaning and his words and those of the Apostle’s and return their inspiration with the growing power and credibility of a grassroots uprising.

Finally, those faithful that choose to spread his messages resonate an even wider circle of flow out toward those in the world that are physically to far away to hear Jesus or the Apostles by creating a written historical record or by sharing stories of his meaningful walk through their towns. That inspired faith then becomes a credibility returned to every level – all the way back to Jesus Christ individually.

The Details

The details speak to multiple singular facets in deference to the singular focuses of those interested in magick and those interested in understanding those people.

On the topic of Magick I suggest it proves that magick is meaningless and subservient to those at the helm of interpretation. That intepretation is a fraud that often commits itself upon the magician as well as their audience. As intentions of the interpreting magician change so do the perceptions of utility, supremacy/inferiority of the flow that provides the magical means and the credibility of the outcomes.

For example, details of a supernatural power change to those of practical emotional drama that find the two men at the helm of their perspectives first serving the forces of Earth so that they might take part in the flow only to expect those forces to be of service to their whims as an unaware familiarity informs their understanding at the perspective most magicians inhabit – one-to-one. Dealing with a single spirit or small group of spirits without an understanding of deceit, superiority or satisfactions feed into a false awareness of control by logical manipulation that eventually falls apart like a raft built on a lagoon before being launched into monsoon-fueled waves.

On the topic of faith, the story illustrates how inspired artistic faith is superior to the relatively faithless confidence achieved by expectation of reproducible results that rests on the single facet of the spell without credit to the conscious choice of spirit, the context of the event and the human choices involved. The ideal artist does benefit from benefit from confidence. Yet that confidence is derived from signs and indications that previous artists have followed along similar paths through similar circumstances. It exists unaware of the statistics of failure. Who cares? Failure is a perspective shared among and by the unartistic.

On the geometry of faith, the story contrasts the typical faith understanding of an inspired process supporting a personal path toward a meaningful outcome with the confidence understanding of a path ideal in the perspective of a previous intentional magician’s interpretation supporting a personal teleportation to a satisfying conclusion. The latter barring all acheivements whose track record in the memory of the achievers would become their own confidence moving forward. Taking ownership of achievements in our own minds while making progress along a self-directed path is the proof that inspired faith is a superior notion since it fully encompasses the confident understanding when it is 100% undeniably truthful because you did it yourself.

On the topic of human intention, the story showcases intention being at its peak when it finds its ideal niche, place and time. In other words, when it is complimentarily parallel to the flow of life on Earth in resonating perspectives, with awareness.

That peak is made up of moments of ideal artistic truth never before achieved along a timeline of everyday life. That so much of the timeline of magickal pursuits are a depressive struggle in the modern era adds to the height of the pedastal those moments sit upon from an artist’s perspective. This is a successful mistake of sorts on the part of artists who follow a path of poverty and self-neglect while creating as it can provide motivation through a heightened inspiration from within and throughout that cannot be expected from other people for whom the same circumstances appear wholly negative for lack of understanding of the artistry’s relevance, value or conclusive existence!

On the topic of Babalon, or more plainly the value of aggrandizement, the story suggests that recognition of a human being as a supernatural force without respect for that human being in the terms that those using him or her would characterize themselves upon a successful magickal conclusion is a purposeful inferior form of notariety that carries with it no credibility for an artist. Appreciation for assisting others by struggle – such as the struggles of sexul ritual Miss Cameron endures – is equally worthless to artistic flow. It serves as a fraudulent means of artistic expression vacant any artistry the more perfectly it is performed. As an indication of friendship, professional contact or achievement, service to the Earth or progress of the individual it is also a fraud that can become its own consolation prize the longer a person remains unaware or decides to go along with the fraud despite awareness to it.


That there is no way to diagram the equivolence and relationship of these meaningful imparts is an indication that there is no truth on which to base the typical “structure of threes” I have found to be fundamental to truthful structures and frameworks of analysis made in our three-dimensional universe. The threes are left behind at the perspective of the characters important to the story. That they don’t resonate outward as much as periodically reach out to control and gather credibility, loyalty or power is indicative of the closed environment of non-resonating and broken flows. A perfect way to put the Babalon magick human idea on display. For the human herself it is no joke. These broken flows and intentional and unintentional misunderstandings can be crippling for a human being already at the mercy of an artistic expectation that allows her no ability to be artistic even to the most fundamental level – choice to participate or not.

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