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August 14th, 1930
“The Necronomicon of the mad Arab Abdul Alhazred is likewise something which must yet be written in order to possess objective reality. Abdul is a favourite dream-character of mine—indeed that is what I used to call myself when I was five years old and a transported devotee of Andrew Lang’s version of the Arabian Nights.
A few years ago I prepared a mock-erudite synopsis of Abdul’s life, and of the posthumous vicissitudes and translations of his hideous and unmentionable work Al Azif...—a synopsis which I shall follow in future references to the dark and accursed thing.
Long has alluded to the Necronomicon in some things of his—in fact, I think it is rather good fun to have this artificial mythology given an air of verisimilitude by wide citation."
May 7th, 1932
"As for writing the Necronomicon—I wish I had the energy and ingenuity to do it! I fear it would be quite a job in view of the very diverse passages and intimations which I have in the course of time attributed to it!
I might, though, issue an abridged Necronomicon—containing such parts as are considered at least reasonably safe for the perusal of mankind! When von Juntz’s Black Book and the poems of Justin Geoffrey are on the market, I shall certainly have to think about the immortalisation of old Abdul!"
The story is told, I think, in other places and I have been asked this before -- also on the Internet -- so to summarize: in the 1970s a couple of Eastern Orthodox monks pulled off the biggest rare book heist in the history of the United States.
It was a continuing crime, the books being taken from libraries and private collections all over the country (and, it was said, Canada and Mexico). They were finally busted, and did federal time, but most of the books were never recovered.
The Necronomicon was part of this swag as were a lot of occult books. It was in Greek, handwritten, but the problem was that much of the Greek was unintelligible. My modest contribution to this was recognizing that some of the Greek was an attempt to phoneticize Babylonian and Sumerian words.
I am not one of the people arguing that this Necronomicon is THE Necronomicon, or that Lovecraft was even aware that it existed. I think Lovecraft heard the name through one of his friends in the Golden Dawn, and used it creatively.
In 1977, the book made its debut in the window of Hermans little shop of horrors in Chelsea (ed. Magickal Childe books). It generated a scene of its own, a scene bursting with mad, unfocused creativity and slapstick mayhem. Robert Anton Wilson and Robert Shea had just published their Illuminatus trilogy, and interest in secret societies and occult lore was sweeping through counterculture circuits.
Into this bubbling swamp of spiritual fecundity stepped Peter Levenda, aka "Simon." Charming, soft-spoken and aloof, well-versed in all aspects of occult theory and practice, he eased his way to the center of the scene.
The Necronomicon was a team effort. Herman provided the sponsorship, while the design and layout were the work of Jim Wasserman of the OTO, a raving cokehead from Jersey named Larry Barnes whose daddy had the production facilities and a fellow who called himself Khem Set Rising (who also designed the sigils). The text itself was Levenda's creation, a synthesis of Sumerian and later Babylonian myths and texts peppered with names of entities from H.P. Lovecraft's notorious and enormously popular Cthulhu stories.
Levenda seems to have drawn heavily on the works of Samuel Noah Kramer for the Sumerian, and almost certainly spent a great deal of time at the University of Pennsylvania library researching the thing. Structurally, the text was modeled on the wiccan Book of Shadows and the Goetia, a grimoire of doubtful authenticity itself dating from the late Middle Ages."
Simon" was also Levenda's creation. He cultivated an elusive, secretive persona,giving him a fantastic and blatantly implausible line of bull# to cover the books origins. He had no telephone. He always wore business suits, in stark contrast to the flamboyant Renaissance fair, proto-goth costuming that dominated the scene.
I thought The Necronomicon was the work of H.P. Lovecraft.
"As for writing the Necronomicon—I wish I had the energy and ingenuity to do it! I fear it would be quite a job in view of the very diverse passages and intimations which I have in the course of time attributed to it! I might, though, issue an abridged Necronomicon—containing such parts as are considered at least reasonably safe for the perusal of mankind! When von Juntz’s Black Book and the poems of Justin Geoffrey are on the market, I shall certainly have to think about the immortalisation of old Abdul!"
H.P.L. in correspondence to Robert E. Howard.
The Phraseology and style of writing would seem to indicate such.
Originally posted by Xoanon
What phraseology and writing style? Have you got a copy of The Necronomicon?
According to one version of a legend that is already recorded in the Middle Ages the scribe was a monk who broke his monastic vows and was sentenced to be walled up alive. In order to forbear this harsh penalty he promised to create in one single night a book to glorify the monastery forever, including all human knowledge.
Near midnight he became sure that he could not complete this task alone, so he made a special prayer, not addressed to God but to the fallen angel Lucifer, asking him to help him finish the book in exchange for his soul. The devil completed the manuscript and the monk added the devil's picture out of gratitude for his aid. In tests to recreate the work, it is estimated that reproducing only the calligraphy, without the illustrations or embellishments, would have taken 5 years of non-stop writing
Originally posted by Xoanon
reply to post by phroziac
Nay, my fine friend, it existeth not.