reply to post by Aleister
Of course Jack Parsons with his poet's heart wanted to rescue women, but he was trying to do it with a 1940s American-male brain that he fed with
Crowley's crap which everyone knows, hardly was uplifting for women.
"But I say that that perfect image in the heart of man is patterned by the awful lust in space-time that shapes all women, the insatiable and
eternal lust of Pan that is BABALON."
He sounds like he is straight outta 1695, with a chaser of bad "Gnosticism".
I know Crowley had those older mind-structures of women, which he created in his brain in his own era, long before the changes which started occurring
and accelerated quickly into the '60s. Through that blender. Then the children of the sixties retreated into self and not into the culture to
experience consciousness experiences and training (while in the real world disco was the rage).
The Parsons quote above, as I'm seeing it this isn't backward thinking at all, but a wonderful description of a state of consciousness. "the
perfect image in the heart of man" - what a destination! I see it as the brain forming a person's world, right in the brain itself (the stuff we
all know about how the senses create our total reality in images and instantly-present memories in the brain, and what is the perfect image in the
heart of man? For straight men, as Parsons was, the Goddess, women, the creation we create that we worship that "is patterned by the awful lust in
space-time" - our minds creating, operating in constantly refreshed images in space-time which we experience as seamless, which includes an element
of lust (lust being the need to worship another body and mind, the drive to give and receive affection, and the search for moments which can be
extended) "which shapes all women" (i.e. the sensory image of a woman or man that we experience in our brain).
"the insatiable and eternal lust of Pan which is BABALON". As you say, the writing of a poet. This line seems to take us to the level and place of
Pan, the symbol and God of the creation that both the brain makes and we experience yet we feel extending outward into the world, that which rules the
world (our personal world and what we imagine is the outer world) -- and then, in the Babalon Working, to draw forth from these images and this
worship and this honoring that a magi such as Parson can create as experienced in his brain (which is driven, of course, by hormones and genetic
memories which we experience as the organism wanting to create copies of itself) and identify it as Pan - but Pan who needs an equal. And then to be
compelled to bring that equal into the world for all the world, to rescue the image created by lust at its finest, which is a beautiful and powerful
image, and make that appear in the real world. Babalon, as he soon called her, was at his house when he got back from his ceremony. For some reason
Cameron fit the bill, and in Parson's mind the ceremony had worked. And maybe he was powerful enough to pull it into reality. He was powerful enough
to pull the space age into reality by playing a part in it. And so his love for one image in his mind became a love for many, or all, when, finally
twinned by his instant attraction and communication on and with Cameron - who he recognized as a magick woman - he likely knew that together they
would work even further to occultly draw that level of female empowerment into the real world.
That's how I read it out when I read it, so I'm not seeing it as a quote which demeans women but empowers and enlarges (I think it was Bob Wilson
who said the best way to expand your universe is to accept everybody elses) humans agreed-upon image for society, thus once again extending the
envelope (which Crowley was so good at) and helping to accelerate the pathway for the 1940s male brain to go to the next level.
Oh, and I should have said this much earlier in the discussion. When I say Crowley would maybe have gotten along well with Hubbard, I was and am
thinking of Hubbard at the top of his creative and spiritual abilities, which I would pin somewhere in the mid 1950s, when both the world-yet-to-come
and the space age were young.