Katherine Maltwood
From the section THE MALTWOOD ENCHANTMENT

Can we imagine the priory as a peaceful spring sunset silence settles across the landscape? A light shines from the windows of Katherine’s tower, attracting our vision towards it. As we draw nearer, the room becomes visible. A woman sits with her back to us, reading at a desk. Coming closer we can see that the book rests over a large map spread out on the table underneath it. We can approach and look over her shoulder. Just what is it that has so thoroughly focused her attention? She’s putting the book to one side and is staring intently at what is now revealed as a detailed map of the Glastonbury landscape. Taking up a pen, she begins to draw a shape formed by a river, roads, and field boundaries. A lion. She stops, sits back and stares at what she’s done. Outside in the twilight, a soft breeze suddenly stirs. A few faint stars are becoming visible. The atmosphere has changed. Right out across the land beyond the priory, back in the direction of Glastonbury, something seems to ripple. Rising upwards, looking down and around, we can somehow discern shapes of light, stretched out in a vast circle. Some of them seem familiar. Are they signs of the zodiac?

Andrew Collins
From the section GLASTONBURY ZODIAC VISION QUEST

At crucial times in the unfolding of the time spiral, some of the world’s sacred sites open to allow new influences to re-encode the planetary matrix for the new dispensation. Now is such a time, hence the revealing of the Glastonbury Zodiac, the call of the Giza plateau. In ‘85, Andy had written, ‘These heart/brain/minds of the Earth are not natural. They are representative of the central creative source of the universe and were placed here by beings who attained the stage of light millions of years ago. Cultures are co-ordinated to perpetuate the influence of their particular spheres, continually updating the existing imagery and archetypes, thus ensuring the quest can still be taken. This also serves the secondary purpose of a symbolic representation in imagery, stories and traditions of the cycles of the seasons, the cosmos and man himself, thus providing a place of learning.’ The “beings who attained the stage of light” were named by Andy as Morphians. Over the coming decades he would periodically ponder over what they might be. The medieval layer of site memory was the last major update, hence it’s powerful lingering presence.

Robert Coon
From the section ELLIPTICAL NAVIGATIONS

He somehow communicated to Robert a kind of enormous cosmic download that was to be released to the world in astrologically determined stages over the coming decades. What rapidly developed was a vision of the birth of the Aquarian Age from a location in Southern England. The “global heart chakra” would open there and an “Omega Point” be activated that would lead to the unfolding of the Planetary New Jerusalem and the widespread attainment of physical immortality! Within a few months Robert had narrowed it down to the specific location of Glastonbury, a place that he had never visited. The big event there was scheduled for 1984, 17 years in the future. There was much to be accomplished in the interim.

John Cowper Powys
From the section DIVINE-DIABOLIC SOLSTICE GNOSIS

Powys described himself as, “a fatally dangerous sort of monster, a satyr-monk, a wicked mystic”. He believed that he “was, or at least would eventually be, a magician; and what is a magician if not one who converts God’s “reality” into his own “reality,” God’s world into his own world, and God’s nature into his own nature?” Many accounts testify that he was possessed of unique charisma. His friend, the writer Louis Wilkinson, spoke of “a beauty of a transfixing power for those who saw and heard him.----full of life, full of beliefs, full of the power to communicate his abundance,” “every gesture --- was extravagantly highly coloured, fantastical, theatrical, maniacal even, but it all made a tremendous mark”. There was a, “vital force of John’s whole identity, and his power of, his genius for breaking all bounds and bonds with it”. “I could and can very well understand anyone thinking of or indeed worshipping him as “god-like.”

Aleister Crowley
From the section AEON OF HORUS

Crowley took Rose to the Cairo Museum on March 21st to see if she could identify an image of the mysterious deity. She passed by a number, which greatly pleased Crowley, as he was irritated to see his wife seeming to have a melodramatic episode like the kind of fake mediums he despised. Amidst the “Boulak collection,” a group of items brought from another museum that had closed in 1890, she then exclaimed “There he is,” pointing down the end of a corridor to an exhibit that was not yet clearly in view. It turned out to be a wooden funerary stele of one Ankh-af-na-Khonsu, a Priest of Mentu, a God of War, dating from about 725 BC. On it was an image of Ra Hoor Khuit, who is a kind of amalgam of Horus and Ra. This was interesting enough but what clinched the matter for Crowley was seeing that the exhibit number was 666. This famous number, attributed to the Great Beast of the Book of Revelation, and the happy hunting ground of numerologists and nutters down through the ages, was one that Crowley had already personally adopted as his own. His parents had been members of a fanatical Christian sect and his mother had used the name of the Beast to castigate her young son. He had happily accepted this as a token of rebellion. Educated pagans consider that it represents the energy of the sun. John Michell expounds on it in such a manner. From that point onwards, Crowley realised that something of magical importance was happening and allowed himself to go along with the strange adventure.

Dion Fortune
From the section PRIESTESS OF THE FINEST HOUR

Her novels, The Sea Priestess and Moon Magic, occupy a unique place in the history of occult literature. They were both written in the thirties, when it seems that inner plane events were in motion that led to the post-war revival of witchcraft and the general return of the Goddess. Numerous models existed for the male magician magus-type. From the Renaissance to Crowley, there was a certain way of being, a particular style that the would-be adept could take on board. For women it was different. The burning times had left unfavourable archetypes associated with witches. The most notable British sorceress was Morgan Le Fey, from the Arthurian cycle. Helen Mirren’s portrayal of her in Excalibur typifies her general depiction as a scheming manipulative malevolent figure, largely responsible for the doom that befalls the King. If the figure of the Priestess was to return, somehow she needed to be rehabilitated, restored to the fullness of her functions. People had to have an idea in their heads of what such a figure would be like and how she might feel and behave in the modern world. The Sea Priestess portrayed the immortal character of Vivien Le Fey Morgan, who became Lilith Le Fey Morgan in Moon Magic. She embodied the qualities of the Arthurian sorceresses, but in a way that revitalised their mystery, expanding what they represent and opening up vistas that speak of a lineage of profound antiquity.

Jose Arguelles
From the section THE MAYAN FACTOR

Arguelles believed that the Earth entered some kind of cosmic beam at the start of the greater cycle in 3114BC and will emerge out of the end in 2012. Within the smaller cycles are moments when things get a kick-start or fall apart or whatever. In 2012 there are awesome possibilities for humanity if we’ve got ourselves sorted. In the lead in to the final hoedown, a 5 year wobble of the Earth’s etheric gyroscope seemed scheduled between 1987 to 1992.There was a period of 3 days in August 1987 when this potentially iffy phase began. This was the time specified by Shearer. Arguelles felt it would be a good idea to stake out every sacred site in the world and do some sort of appropriate activity to help the coming phase of massive acceleration to be safely navigated. He promoted this idea in The Mayan Factor and it spread very quickly through the New Age grapevine coming to pass in a big way as the Harmonic Convergence.

Shirdi Sai Baba
From the section DARSHAN

As he began to demonstrate the full range of siddhis it became clear that one reason for the constant fire in the mosque was to provide ash which he then used for healing. The production of vibhuti ash by Satya Sai Baba is considered to be a demonstration of continuity with the Shirdi form. Some of the stories associated with him are quite outlandish, including the apparent taking of other forms such as a beggar, a hermit, a workman, or even a dog or a cat. Many around him firmly believed that he constantly demonstrated knowledge of what his devotees were doing hundreds of miles away. Blindness was cured and evil spirits cast out. On one occasion he allowed a man with advanced leprosy to come and wash his legs. Instead of Shirdi Sai catching the disease himself, the leper was cured.