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At behest of usura

Leila Waddell on Dr John Dunn. Leila Waddell, ‘Divine Whore’ and muse to Aleister Crowley in writing and performing the Rites of Eleusis.





And in the Weiningerian world we, the ‘Jews’, exist in a state of puppethood before the demiurge.

Puppethood is passive. It denies the will and creativity. As ‘tabulae rasae’ to be scribbled upon, we have our strings pulled. If we think at all it is as an eager-to-please filing secretary, shuffling and re-shuffling the predetermined truths. When tested, it is the file and recall ability that is rewarded with a pass.


As if this were not bad enough, just as the filing secretary is now long redundant, so too have we have become the androidal extensions of software. Even our personal databanks are stored in the cloud.

And yet the contents of the hard drive are not me. External stimuli pasted across the databanks are by definition not me. Yet this is what competes for selfhood in the Weineringian world, where the self confronts the other in the form of the Judaised self, the feminised self. This is the Zarathustrian kampf internalised.

And Weininger, the Viennese son of a Jewish goldsmith, would have this struggle played out as anti-semitism and misogyny. More than petty prejudice, his struggle was about the survival of the active, creative, conscious moral and logical male self against its other - as he would have it, the dehumanised, judaised, feminised self, the passive, unproductive, unconscious, amoral and illogical product of usura.
In the Weiningerian world, the demiurge had made a Jew of the gentile, a woman of the man. 



Hyperborea was a mythical race memory of a ‘prelapsarian’ epoch without demiurgic intervention. Yet the polar ascent is blocked and mankind exists on the equator. Looking down upon the pole, the journey to be undertaken is from the outer circle of the henge to the unifying centre, to the place of sacrifice and immolation. Such a quest was echoed in the procession to Eleusis and the visions of the holy night. Either way, the goal was death and transfiguration.

Throwing himself on the altar of creativity, Weininger’s suicide shared the place of Beethoven’s death agony.

Yet vain such an attempt as Pound well knew.

They have brought whores for Eleusis
Corpses are set to banquet
at behest of usura.


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