I haven't read this cover to cover. It's divided in to three sections, about the literary culture of the time, the dating and authorship of works attributed to Middleton by the editors and textual notes about e.g. text variants and other detailed editorial matters.

I bought the book because I found, reading the Collected Works this volume is companion to, that I could not dispense with discussion of authorship, especially in cases of collaboration. On that front I have no complaints. The textual notes are not of great interest to me but I have little choice but to accept the editorial decisions made, anyway.

The section on cultural aspects of writing and distributing works in the era was a severe disappointment. The essays are clearly best suited to academic journals and use Middleton and his work as examples simply to justify being placed in this volume. I skimmed or skipped most of these 330p of essays, which could have been interesting if written for a general audience in similar vein to the essays introducing the actual Collected Works itself. I'm still using the book along side the Collected Works regarding authorship and general editorial aspects but I'm done with section I.

My plans of reading the plays in order have been thwarted again, but since the NT at Home will show Coriolanus (the Donmar Warehouse production starring Tom Hiddleston) this week, I'll try to read the play before Thursday. 

This is also one where I do not have the Arkangel audiobook to accompany me (and I don't have a spare credit at the moment). So, this will be "text then play" reading. 

I'm excited about the Hiddleston production, tho. I was really impressed by his portrayal of Prince Hal / Henry V in The Hollow Crown. 

These essays are only interesting (to me) when they connect to Middleton. I'm skimming a lot.

by Carl Abrahamsson

Non-fiction

One of the first things I noticed with this book is that the chapter headings have notes below the titles that say each of them was first given at a lecture or printed as an article someplace, so it soon became clear that this is a collection of several years' writings collected by the author into book form for presentation to a new audience. The subject matter is sufficiently different in each to create a nicely balanced volume on occult influence in society and particularly in art.

This is not a book for learning to do magic(k), but is more about modern cultural influences and symbols that enter mainstream consciousness through various mediums of artistic expression. In the Forword written by Gary Lachman, he explains the term 'occulture', occult + culture, coined by Genesis-P-Orridge, a cult figure in certain circles of modern day magicians, then goes on to point out connections between art and the occult and the significance of interpreting one through the other.

The lectures and articles cover a fascinating variety of loosely related topics. They include commentaries on alternative lifestyles and the rise of occult culture through significant periods like the 1960s and 1980s and the British and German groups and personalities who shaped much of modern occult culture.

The reader gets the benefit of a perspective by someone who 'was there' and understands the significance of a variety of cultural influences that still affect the culture today. He speaks of Thee Temple ov Psychick Youth as well as about Aleister Crowley and Anton LaVey and what he feels were the relevant contributions by controversial groups and personalities.

The perspective is very much about the intellectual side of the occult. No new age or airy-fairy crystal hugging comes into it. As occult history goes, this is an excellent reflection of the later twentieth century developments that built on the legacy of earlier magical Orders and traditions and the effects of an expanding cultural awareness that would shake the foundations of pre-twentieth century European occult study.

The significance of art and creativity is emphasised as is the freedom of social mores from the staid, limiting celibacy of groups like the early Golden Dawn and the cautions required by Medieval magicians to avoid any sniff of scandal that might lead to charges of heresy.

The history of Nazi involvement in the occult is detailed in one of the lectures and makes for interesting reading from a historical perspective as well. That lecture somehow moves from this to beatniks in California, which gives the reader an idea of the broad scope of some of the topics discussed.

This book would be of interest to anyone interested in occult history or in cultural development and the influence of art. It fills in the recent gaps in documented history for those of us who are too young to have been there for the changes in the 1980s and before as these periods are often not addressed in earlier books on the subject.

It also goes into everything from philosophy to conspiracy theories in recent decades and even Pokemon Go! I found all of the articles interesting for different reasons. A real treasure for anyone with interest in magick or the occult.

Scott Stoddard is enjoying his honeymoon in the South of Fance in 1964.  Scott, an American student studying in Geneva has just married the former Countess de Rovere, Desiree in an unexpected and whirlwind romance when a letter from the draft board appears saying his status is under review.  Scott must now report to a base in Germany to be tested and then tested again only to learn that the CIA is forcing him to train as a spy and use his new social status to gain information and pass it along.  Scott is not pleased about how he has to go about his duty, keep secrets from his new wife and spend time away from his baby daughter.  However, he finds a way to use this position for good as well as finding a way back to his life.