A Change In The Weather…

Well, the heat has subsided. My brain goes on holiday when it is toooo hot. I can barely move, and I find that stillness is its own just reward. I have avoided the computer as much as possible, as it generates its own little Heat Well… When the temps went up, I noticed less people were coming to visit Earth Rites as well, and I can only hope that you all found a cool spot, a cool pool to stay by. I used to go to the Upper Sacramento River in Mt. Shasta during the heat spells, or up to high mountain lakes. That first shock of cold.. cold.. cool pristine water. I do miss that.

Take care, keep yourselves in health…

Gwyllm

On the Grill…

The Links: oddities abound!

Calling Cthulhu Part 2 Erik Davis continues…

Poetry: Walt Whitman…

Enjoy,

Gwyllm

_________

The Links:

Paradise Found on Earth…

In his words: Outlandish theories: Kings of the (hollow) world

Outer-space sex carries complications

A message for you from Chris in Australia

_____________

Calling Cthulhu Part 2 – Erik Davis

H.P. Lovecraft’s Magick Realism

Proof in the Pudding

In a message cross-posted to the Internet newsgroups alt.necromicon [sic] and alt.satanism, Parker Ryan listed a wide variety of magical techniques described by Lovecraft, including entheogens, glossalalia, and shamanic drumming. Insisting that his post was “not a satirical article,” Ryan then described specific Lovecraftian rites he had developed, including this “Rite of Cthulhu”:

A) Chanting. The use of the “Cthulhu chant” to create a concentrative or meditative state of consciousness that forms the basis of much later magickal work.

B) Dream work. Specific techniques of controlled dreaming that are used to establish contact with Cthulhu.

C) Abandonment. Specific techniques to free oneself from culturally conditioned reality tunnels.

Ryan goes on to say that he’s experimented with most of his rites “with fairly good success.”

In coming to terms with the “real magic” embedded in Lovecraft, one quickly encounters a fundamental irony: the cold skepticism of Lovecraft himself. In his letters, Lovecraft poked fun at his own tales, claiming he wrote them for cash and playfully naming his friends after his monsters. While such attitudes in no way diminish the imaginative power of Lovecraft’s tales—which, as always, lie outside the control and intention of their author—they do pose a problem for the working occultist seeking to establish Lovecraft’s magical authority.

The most obvious, and least interesting, answer is to find authentic magic in Lovecraft’s biography. Lovecraft’s father was a traveling salesman who died in a madhouse when Lovecraft was eight, and vague rumors that he was an initiate in some Masonic order or other were exploited in the Necronomicon cobbled together by George Hay, Colin Wilson, and Robert Turner. Others have tried to track Lovecraft’s occult know-how, especially his familiarity with Aleister Crowley and the Golden Dawn. In an Internet document relating the history of the “real” Necronomicon, Colin Low argues that Crowley befriended Sonia Greene in New York a few years before the woman married Lovecraft. As proof of Crowley’s indirect influence on Lovecraft, Low sites this intriguing passage from “The Call of Cthulhu”:

That cult would never die until the stars came right again and the secret priests would take Cthulhu from His tomb to revive His subjects and resume His rule of earth. The time would be easy to know, for then mankind would have become as the Great Old Ones; free and wild, and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. Then the liberated Old Ones would teach them new ways to shout and kill and revel and enjoy themselves, and all earth would flame with a holocaust of ecstasy and freedom.

Low claims this passage is a mangled reflection of Crowley’s teachings on the new Aeon and the The Book of the Law. In an article in Societé, Robert North also states that Lovecraft referred to “A.C.” in a letter, and that Crowley was mentioned in Leonard Cline’s The Dark Chamber, a novel Lovecraft discussed in his Supernatural Horror in Literature.

But so what? Lovecraft was a fanatical and imaginative reader, and many such folks are drawn to the semiotic exotica of esoteric lore regardless of any beliefs in or experiences of the paranormal. From The Case of Charles Dexter Ward and elsewhere, it’s clear that Lovecraft knew the basic outlines of the occult. But these influences pale next to Vathek, Poe, or Lord Dunsany.

Desperate to assimilate Lovecraft into a “tradition”, some occultists enter into dubious explanations of mystical influence by disincarnate beings. North gives this Invisible College idea a shamanic twist, asserting that prehistoric Atlantian tribes who survived the flood exercised telepathic influence on people like John Dee, Blavatsky, and Lovecraft. But none of these Lovecraft hierophants can match the delirious splendor of Kenneth Grant. In The Magical Revival, Grant points out more curious similarities between Lovecraft and Crowley: both refer to “Great Old Ones” and “Cold Wastes” (of Kadath and Hadith, respectively); the entity “Yog-Sothoth” rhymes with “Set-Thoth,” and Al Azif: The Book of the Arab resembles Crowley’s Al vel Legis: The Book of the Law. In Nightside of Eden, Grant maps Lovecraft’s pantheon onto a darkside Tree of Life, comparing the mangled “iridescent globes” that occasionally pop up in Lovecraft’s tales with the shattered sefirot known as the Qlipoth. Grant concludes that Lovecraft had “direct and conscious experience of the inner planes,” the same zones Crowley prowled, and that Lovecraft “disguised” his occult experiences as fiction.

Like many latter-day Lovecraftians, Grant commits the error of literalizing a purposefully nebulous myth. A subtler and more satisfying version of this argument is the notion that Lovecraft had direct unconscious experiences of the inner planes, experiences which his quotidian mind rejected but which found their way into his writings nonetheless. For Lovecraft was blessed with a vivid and nightmarish dream life, and drew the substance of a number of his tales from beyond the wall of sleep.

In this sense Lovecraft’s magickal authority is nothing more or less than the authority of dream. But what kind of dream tales are these? A Freudian could have a field day with Lovecraft’s fecund, squishy sea monsters, and a Jungian analyst might recognize the liniments of the proverbial shadow. But Lovecraft’s Shadow is so inky it swallows the standard archetypes of the collective unconscious like a black hole. If we see the archetypal world not as a static storehouse of timeless godforms but as a constantly mutating carnival of figures, then the seething extraterrestrial monsters that Lovecraft glimpsed in the chaos of hyperspace are not so much archaic figures of heredity than the avatars of a new psychological and mythic aeon. At the very least, it would seem that things are getting mighty out of hand beyond the magic circle of the ordered daylight mind.

In an intriguing Internet document devoted to the Necronomicon, Tyagi Nagasiva places Lovecraft’s potent dreamtales within the terma tradition found in the Nyingma branch of Tibetan Buddhism. Termas were “pre-mature” writings hidden by Buddhist sages for centuries until the time was ripe, at which point religious visionaries would divine their physical hiding places through omens or dreams. But some termas were revealed entirely in dreams, often couched in otherworldly Dakini scripts. An old Indian revisionary tactic (the second-century Nagarjuna was said to have discovered his Mahayana masterpieces in the serpent realm of the nagas), the terma game resolves the religious problem of how to alter a tradition without disrupting traditional authority. The famous Tibetan Book of the Dead is a terma, and so, perhaps, is the Necronomicon.

Of course, for Chaos magicians, reality can coherently present itself through any number of self-sustaining but mutually contradictory symbolic paradigms (or “reality tunnels,” in Robert Anton Wilson’s memorable phrase). Nothing is true and everything is permitted. By emphasizing the self-fulfilling nature of all reality claims, this postmodern perspective creatively erodes the distinction between legitimate esoteric transmission and total fiction.

This bias toward the experimental is found in Anton LaVey’s Satanic Rituals, which includes the first overtly Lovecraftian rituals to see print. In presenting “Die Elektrischen Vorspiele” (which LaVey based on a Lovecraftian tale by Frank Belknap Long), the “Ceremony of the Angles,” and “The Call to Cthulhu” (the latter two penned by Michael Aquino), LaVey does claim that Lovecraft “clearly…had been influenced by very real sources.” But in holding that Satanic magic allows you to “objectively enter into a subjective state,” LaVey more emphatically emphasizes the ritual power of fantasy—a radical subjectivity which explains his irreverence towards occult source material, whether Lovecraft or Masonry. In naming his Order of the Trapezoid after the “Shining Trapezohedron” found in Lovecraft’s “The Haunter of the Dark”—a black, oddly-angled extraterrestrial crystal used to communicate with the Old Ones—LaVey emphasized that fictions can channel magical forces regardless of their historical authenticity.

In his two rituals, Michael Aquino expresses the subjective power of “meaningless” language by creating a “Yuggothic” tongue similar to that heard in Lovecraft’s “The Dunwich Horror” and “The Whisperer in the Dark.” Such guttural utterances help to shut down the rational mind (try chanting “P’garn’h v’glyzz” for a couple of hours), a notion elaborated by Kenneth Grant in his notion of the Cult of Barbarous Names. After leaving the Church of Satan to form the more serious Temple of Set in 1975, Aquino eventually reformed the Order of the Trapezoid into the practical magic wing of the Setian philosophy. For Stephen R. Flowers, current Grand Master of the order, the substance of Lovecraftian magic is precisely an overwhelming subjectivity that flies in the face of objective law. “The Old Ones are the objective manifestations…of the subjective universe which is what is trying to ‘break through’ the merely rational mind-set of modern humanity.” For Flowers, such invocations are ultimately apocalyptic, hastening a transition into a chaotic aeon in which the Old Ones reveal themselves as future reflections of the Black Magician (“There are no more Nightmares for us,” he wrote me).

This desire to rebel against the tyranny of reason and its ordered objective universe is one of the underlying goals of Chaos magic. Many would applaud the sentiment expressed by Albert Wilmarth in Lovecraft’s “The Whisperer in Darkness”: “To shake off the maddening and wearying limitations of time and space and natural law—to be linked with the vast outside—to come close to the nighted and abysmal secrets of the infinite and ultimate—surely such a things was worth the risk of one’s life, soul, and sanity!”

In his electronically circulated text “Kathulu Majik: Luvkrafting the Roles of Modern Uccultizm,” Tyagi Nagasiva writes that most Western magic is ossified and dualistic, heavily weighted towards the forces of order, hierarchy, moralizing, and structured language. “Without the destabilizing force of Kaos, we would stagnate intellectually, psychologically and otherwise…Kathulu provides a necessary instability to combat the stolid and fixed methods of the structured ‘Ordurs’…One may become balanced through exposure to Kathulu” (Tyagi’s “mis-spellings” show the influence of Genesis P. Orridge’s Temple of Psychick Youth). Haramullah criticizes black magicians who simply reverse “Ordur” with “Kaos,” rather than bringing this underlying polarity into balance (a dualistic error he also finds in Lovecraft). Showing strong Taoist and Buddhist influences, Haramullah calls instead for a “Midul Path” that magically navigates between structure and disintegration, will and void. “The idea that one may progress linearly along the MP [Midul Path] is mistaken. One becomes, one does not progress. One attunes, one does not forge. One allows, one does not make.”

In the Cincinatti Journal of Ceremonial Magic, the anonymous author of “Return of the Elder Gods” presents an evolutionary reason for Mythos magic. The author accepts the scenario of an approaching world crisis brought on by the invasion of the Elder Gods, Qlipothic transdimensional entities who ruled protohumanity until they were banished by “the agent of the Intelligence,” a Promethean figure who set humanity on its current course of evolution. We remain connected to these Elder Gods through the “Forgotten Ones,” the atavistic forces of hunger, sex ,and violence that linger in the subterranean levels of our being. Only by magically “reabsorbing” the Forgotten Ones and using the subsequent energy to bootstrap higher consciousness can we keep the portal sealed against the return of the Elder Gods. Though Lovecraft’s name is never mentioned in the article, he is ever present, a skeptical materialist dreaming the dragons awake.

Writing the Dream…

Within the Mythos tales, one finds two dimensions—the normal human world and the infested Outside—and it’s the ontological tension between them that powers Lovecraft’s magick realism. Though Cthulhu and friends have material aspects, their reality is most horrible for what it says about the way the universe is. As the Lovecraft scholar Joshi notes, Lovecraft’s narrators frequently go mad “not through any physical violence at the hands of supernatural entities but through the mere realization of the the existence of such a race of gods and beings.” Faced with “realms whose mere existence stuns the brain,” they experience severe cognitive dissonance—precisely the sorts of disorienting rupture sought by Chaos magicians.

The role-playing game Call of Cthulhu wonderfully expresses the violence of this Lovecraftian paradigm shift. In adventure games like Dungeons & Dragons, one of your character’s most significant measures is its hit points—a number which determines the amount of physical punishment your character can take before it gets injured or dies. Call of Cthulhu replaces this physical characteristic with the psychic category of Sanity. Face-to-face encounters with Yog-Sothoth or the insects from Shaggai knock points off your Sanity, but so does your discovery of more information about the Mythos—the more you find out from books or starcharts, the more likely you are to wind up in the Arkham Asylum. Magic also comes with an ironic price, one that Lovecraftian magicians might well pay heed to. If you use any of the binding spells from De Vermis Mysteriis or the Pnakotic Manuscripts, you necessarily learn more about the Mythos and thereby lose more sanity.

Lovecraft’s scholarly heros also investigate the Mythos as much through reading and thinking as through movements through physical space, and this psychological exploration draws the mind of the reader directly into the loop. Usually, readers suspect the dark truth of the Mythos while the narrator still clings to a quotidian attitude—a technique that subtly forces the reader to identify with the Outside rather than with the conventional worldview of the protagonist. Magically, the blindness of Lovecraft’s heroes corresponds to a crucial element of occult theory developed by Austin Osman Spare: that magic occurs over and against the conscious mind, that ordinary thinking must be silenced, distracted, or thoroughly deranged for the chthonic will to express itself.

In order to invade our plane, Lovecraft’s entities need a portal, an interface between the worlds, and Lovecraft emphasizes two: books and dreams. In “Dreams of the Witch-House,” “The Shadow out of Time” and “The Shadow over Innsmouth,” dreams infect their hosts with a virulence that resembles the more overt psychic possessions that occur in “The Haunter in the Dark” and The Case of Charles Dexter Ward. Like the monsters themselves, Lovecraft’s dreams are autonomous forces breaking through from Outside and engendering their own reality.

But these dreams also conjure up a more literal “outside”: the strange dream life of Lovecraft himself, a life that (as the informed fan knows) directly inspired some of the tales. By seeding his texts with his own nightmares, Lovecraft creates a autobiographical homology between himself and his protagonists. The stories themselves start to dream, which means that the reader too lies right in the path of the infection.

Lovecraft reproduces himself in his tales in a number of ways—the first-person protagonists reflect aspects of his own reclusive and bookish lifestyle; the epistolary form of the “The Whisperer in Darkness” echoes his own commitment to regular correspondence; character names are lifted from friends; and the New England landscape is his own. This psychic self-reflection partially explains why Lovecraft fans usually become fascinated with the man himself, a gaunt and solitary recluse who socialized through the mail, yearned for the eighteenth century, and adopted the crabby outlook and mannerisms of an old man. Lovecraft’s life, and certainly his voluminous personal correspondence, form part of his myth.

Lovecraft thus solidifies his virtual reality by adding autobiographical elements to his shared world of creatures, books and maps. He also constructs a documentary texture by thickening his tales with manuscripts, newspaper clippings, scholarly citations, diary entries, letters, and bibliographies that list fake books alongside real classics. All this produces the sense that “outside” each individual tale lies a meta-fictional world that hovers on the edge of our own, a world that, like the monsters themselves, is constantly trying to break through and actualize itself. And thanks to Mythos storytellers, role-playing games, and dark-side magicians, it has.

…and Dreaming the Book

In “The Shadow out of Time,” Lovecraft makes explicit one of the fantastic equations that drives his Magick Realism: the equivalence of dreams and books. For five years, the narrator, an economics professor named Nathaniel Wingate Peaslee, is taken over by a mysterious “secondary personality.” After recovering his original identity, Peaslee is beset by powerful dreams in which he finds himself in a strange city, inhabiting a huge tentacle-sprouting conical body, writing down the history of modern Western world in a book. In the climax of the tale, Peaslee journeys to the Australian desert to explore ancient ruins buried beneath the sands. There he discovers a book written in English, in his own handwriting: the very same volume he had produced inside his monstrous dream body.

Though we learn very little of their contents, Lovecraft’s diabolical grimoires are so infectious that even glancing at their ominous sigils proves dangerous. As with their dreams, these texts obssess Lovecraft’s bookish protagonists to the point that the volumes, in Christopher Frayling’s phrase, “vampirize the reader.” Their titles alone are magic spells, the hallucinatory incantations of an eccentric antiquarian: the Pnakotic Manuscripts, the Ilarnet Papyri, the R’lyeh Text, the Seven Cryptical Books of Hsan. Lovecraft’s friends contributed De Vermis Mysteriis and von Junzt’s Unaussprechlichen Kulten, and Lovecraft named the author of his Cultes Des Goules, the Comte d’Erlette, after his young fan August Derleth. Hovering over all these grim tomes is the “dreaded” and “forbidden” Necronomicon, a book of blasphemous invocations to speed the return of the Old Ones. Lovecraft’s supreme intertextual fetish, the Necronomicon stands as one of the few mythical books in literature that have absorbed so much imaginative attention that they’ve entered published reality.

If books owe their life not to their individual contents but to the larger intertextual webwork of reference and citation within which they are woven, than the dread Necronomicon clearly has a life of its own. Besides literary studies, the Necronomicon has generated numerous pseudo-scholarly analyses, including significant appendixes in the Encyclopedia Cthulhiana and Lovecraft’s own “History of the Necronomicon.” A number of FAQs can be found on the Internet, where a mild flame war periodically erupts between magicians, horror fans, and mythology experts over the reality of the book. The undead entity referred to in the Necronomicon’s famous couplet—”That is not dead which can eternal lie,/And with strange eons even death may die”—may be nothing more or less than the the text itself, always lurking in the margins as we read the real.

Lovecraft’s brief “History” was apparently inspired by the first Necronomicon hoax: a review of an edition of the dreaded tome submitted to Massachusetts’ Branford Review in 1934.

Decades later, index cards for the book started popping up in university library catalogs.

It’s perhaps the principle expression of Lovecraft’s Magick Realism that all these ghostly references would finally manifest the book itself. In 1973, a small-press edition of Al Azif (the Necronomicon’s Arabic name) appeared, consisting of eight pages of simulated Syrian script repeated 24 times. Four years later, the Satanists at New York’s Magickal Childe published a Necronomicon by Simon, a grab bag that contains far more Sumerian myth than Lovecraft (though portions were “purposely left out” for the “safety of the reader”). George Hay’s Necronomicon: The Book of Dead Names, also a child of the ’70s, is the most complex, intriguing, and Lovecraftian of the lot. In the spirit of the master’s pseudoscholarship, Hay nests the fabulated invocations of Yog-Sothoth and Cthulhu amongst a set of analytic, literary and historical essays.

Though magicians with strong imaginations have claimed that even the Simon book works wonders, the pseudohistories of the various Necronomicons are far more compelling than the texts themselves. Lovecraft himself provided the bare bones: the text was penned in 730 A.D by a poet, the Mad Arab Abdul Alhazred, and named after the nocturnal sounds of insects. It was subsequently translated by Theodorus Philetas into Greek, by Olaus Wormius into Latin, and by John Dee into English. Lovecraft lists various libraries and private collections where fragments of the volume reside, and gives us a knowing wink by noting that the fantasy writer R.W. Chambers is said to have derived the monstrous and suppressed book found in his novel The King in Yellow from rumors of the Necronomicon (Lovecraft himself claimed to have gotten his inspiration from Chambers).

All of the Necronomicon’s subsequent pseudohistories weave the book in and out of actual occult history, with John Dee playing a particularly conspicuous role. According to Colin Wilson, the version of the text published in the Hay Necronomicon was encrypted in Dee’s Enochian cipher-text Liber Logoaeth . Colin Low’s Necronomicon FAQ claims that Dee discovered the book at the court of King Rudolph II’s court in Prague, and that is was under its influence that Dee and his scryer Edward Kelly achieved their most powerful astral encounters. Never published, Dee’s translation became part of celebrated collection of Elias Ashmole housed at the British Library. Here Crowley read it, freely cobbling passages for The Book of the Law, and ultimately passing on some of its contents indirectly to Lovecraft through Sophia Greene. Crowley’s role in Low’s tale is appropriate, for Crowley certainly knew the magical power of hoax and history.

For the history of the occult is a confabulation, its lies wedded to its genealogies, its “timeless” truths fabricated by revisionists, madmen, and geniuses, its esoteric traditions a constantly shifting conspiracy of influences. The Necronomicon is not the first fiction to generate real magical activity within this potent twilight zone between philology and fantasy.

To take an example from an earlier era, the anonymous Rosicrucian manifestos that first appeared in the early 1600s claimed to issue from a secret brotherhood of Christian Hermeticists who finally deemed it time to come above ground. Many readers immediately wanted to join up, though it is unlikely that such a group existed at the time. But this hoax focused esoteric desire and inspired an explosion of “real” Rosicrucian groups. Though one of the two suspected authors of the manifestos, Johann Valentin Andreae, never came clean, he made veiled references to Rosicrucianism as an “ingenius game which a masked person might like to play upon the literary scene, especially in an age infatuated with everything unusual.” Like the Rosicrucian manifestos or Blavatsky’s Book of Dzyan, Lovecraft’s Necronomicon is the occult equivalent of Orson Welles’ radio broadcast of the “War of the Worlds.” As Lovecraft himself wrote, “No weird story can truly produce terror unless it is devised with all the care and verisimilitude of an actual hoax.”

In Foucault’s Pendulum, Umberto Eco suggests that esoteric truth is perhaps nothing more than a semiotic conspiracy theory born of an endlessly rehashed and self-referential literature—the intertextual fabric Lovecraft understood so well. For those who need to ground their profound states of consciousness in objective correlatives, this is a damning indictment of “tradition.” But as Chaos magicians remind us, magic is nothing more than subjective experience interacting with an internally consistent matrix of signs and affects. In the absence of orthodoxy, all we have is the dynamic tantra of text and perception, of reading and dream. These days the Great Work may be nothing more or less than this “ingenius game,” fabricating itself without closure or rest, weaving itself out of the resplendent void where Azathoth writhes on his Mandelbrot throne….

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Poetry: Walt Whitman

O HYMEN! O HYMENEE

HYMEN! O hymenee! why do you tantalize me thus?

O why sting me for a swift moment only?

Why can you not continue? O why do you now cease?

Is it because if you continued beyond the swift moment you would soon certainly kill me?

—-

NATIVE MOMENTS

Native moments–when you come upon me–ah you are here now,

Give me now libidinous joys only,

Give me the drench of my passions, give me life coarse and rank,

To-day I go consort with Nature’s darlings, to-night too,

I am for those who believe in loose delights, I share the midnight orgies of young men,

I dance with the dancers and drink with the drinkers,

The echoes ring with our indecent calls, I pick out some low person for my dearest friend,

He shall be lawless, rude, illiterate, he shall be one condemn’d by others for deeds done,

I will play a part no longer, why should I exile myself from my companions?

O you shunn’d persons, I at least do not shun you,

I come forthwith in your midst, I will be your poet,

I will be more to you than to any of the rest.

—-

A WOMAN WAITS FOR ME

A woman waits for me, she contains all, nothing is lacking,

Yet all were lacking if sex were lacking, or if the moisture of the right man were lacking.

Sex contains all, bodies, souls,

Meanings, proofs, purities, delicacies, results, promulgations,

Songs, commands, health, pride, the maternal mystery, the seminal milk,

All hopes, benefactions, bestowals, all the passions, loves,

beauties, delights of the earth,

All the governments, judges, gods, follow’d persons of the earth,

These are contain’d in sex as parts of itself and justifications of itself.

Without shame the man I like knows and avows the deliciousness of his sex,

Without shame the woman I like knows and avows hers.

Now I will dismiss myself from impassive women,

I will go stay with her who waits for me, and with those women that are warm-blooded and sufficient for me,

I see that they understand me and do not deny me,

I see that they are worthy of me, I will be the robust husband of those women.

They are not one jot less than I am,

They are tann’d in the face by shining suns and blowing winds,

Their flesh has the old divine suppleness and strength,

They know how to swim, row, ride, wrestle, shoot, run, strike, retreat, advance, resist, defend themselves,

They are ultimate in their own right–they are calm, clear, well-possess’d of themselves.

I draw you close to me, you women,

I cannot let you go, I would do you good,

I am for you, and you are for me, not only for our own sake, but for others’ sakes,

Envelop’d in you sleep greater heroes and bards,

They refuse to awake at the touch of any man but me.

It is I, you women, I make my way,

I am stern, acrid, large, undissuadable, but I love you,

I do not hurt you any more than is necessary for you,

I pour the stuff to start sons and daughters fit for these States, I press with slow rude muscle,

I brace myself effectually, I listen to no entreaties,

I dare not withdraw till I deposit what has so long accumulated within me.

Through you I drain the pent-up rivers of myself,

In you I wrap a thousand onward years,

On you I graft the grafts of the best-beloved of me and America,

The drops I distil upon you shall grow fierce and athletic girls, new artists, musicians, and singers,

The babes I beget upon you are to beget babes in their turn,

I shall demand perfect men and women out of my love-spendings,

I shall expect them to interpenetrate with others, as I and you inter-penetrate now,

I shall count on the fruits of the gushing showers of them, as I count on the fruits of the gushing showers I give now,

I shall look for loving crops from the birth, life, death, immortality, I plant so lovingly now.

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