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GOETIC ATAVISMS: Frater Acher & Craig Slee – Deluxe Leather Bound in Custom Slipcase (PREORDER)

We are very proud to announce that we will have a limited number of the deluxe edition of GOETIC ATAVISMS by Frater Acher & Craig Slee.

NOTE: This book is not expect to ship until Late June


Click here to reserve your copy:

One of only 72 numbered leather bound and slipcased hardcover editions in custom slipcase.






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New and expanded edition of THE HEKATAEON by Jack Grayle now up for Preorder!

Miskatonic Books is very proud to announce that we will be distributing the latest publication from Jack Grayle Press, the new and expanded edition of THE HEKATAEON by Jack Grayle!
The last time this went up for sale it sold out in days and we expect that this new edition will move quickly too.
Book is available in two formates a 1250 hand numbered limited edition and a 70 hand numbered deluxe edition.
Layaway is always available.
THE HEKATAEON by Jack Grayle – MEDEA edition Limited Hardcover with Expanded Material (PREORDER) click here to reserve your copy of the limited edition: Limited Edition
THE HEKATAEON by Jack Grayle – MEDEA Edition DELUXE Leather Bound Limited Edition Hardcover with Expanded Material (PREORDER) Click here to preorder the deluxe edition: Deluxe Edition
Published by Grayle Press
From the publisher:
The last edition of The Hekataeon sold out in three weeks, and it has remained in high demand ever since. Due to hundreds of requests, Grayle Press is now re-issuing this popular grimoire in a formidable, altar-worthy volume that contains a complete self-initiation into the mysteries of Hekate. It includes Jack Grayle’s hymns, prayers, invocations, incantations, scripts, and initiatory rites from previous editions, as well as three new, never-before-seen workings written by Jack including one for reconnecting with Hekate after a lapse in praxis, and another for creating a wand to transform the mundane to the magical. It also contains a brand-new illustration by occult artist Rowan E. Cassidy, full-color photos (and three new ones), and a beautiful new cover design.
The Hekataeon is remarkable grimoire presenting a complete system of self-initiation into the mysteries of Hekate, the Maiden-Serpent-Wolf who stands at the crux of the crossroads of all realms and realities. As such, it presents dozens of rituals, rites, spells, songs, scripts and sorcerous workings to ally oneself with the Lady of the Crossroads herself, as well as the witch-queens of late antiquity which embody her current of chthonic magic, to include Medea, Kirke, and Pasiphae. It also contains hymns to win the blessing of goddesses and gods such as Artemis, Selene, Persephone, Apollo, Helios, Hermes and Dionysus. Within its pages are consecrations for tools of art, by invoking powerful daimons such as Kerberos, Orpheus, the Fates, the Furies, and the Greco-Egyptian underworld spirit
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Frater Ashen Chassan Interview on Magic and so Much More!

We at Miskatonic Books are very happy to have our first blog interview with the very accomplished magican and author Frater Ashen Chassan

Interview questions provided by Larry Roberts


1. What was your first magical experience?

I’ve had experiences that could be considered magical, paranormal, or spiritual in nature ever since a young age. One of the first consciously aware experiences I had was when I was about ten years old in martial arts class. I began staring at myself in the mirror that made up the entire opposite wall. It was after a rigorous work out and I was able to sit perfectly still and just stare at my own eyes and reflection. I was still, “aware” but as I stared, eventually all sound went away, followed by the reflection of anyone or anything else and only I was left in the reflection, staring at myself surrounded by what looked like a white-golden aura. It felt like I was in this moment for several hours but ended up only being a few moments. It was long enough for my teacher and students to take notice however and they all seemed rather impressed by whatever state I appeared to be in.

Another earlier occurrence happened while I was walking home through the woods and became turned around. I was about thirteen at the time and wasn’t very familiar with the land yet. I became rather nervous and called out to the spirits of the land there asking them to assist me in finding my way home. I didn’t really know what I was doing or what I was expecting, and nothing miraculous appeared or introduced itself. Just moments after however, I did hear a noise that pointed me in the direction toward home. I found my way safely and not only that, soon after I began experiencing many unusual things within the forest that surrounded my house. Such occurrences would increase and continue as long as I lived there.

I wouldn’t formally experiment from a book of magic till a year or two later following that experience in the woods. I became drawn to paganism, Celtic lore and magic and fascinated by the things I felt and experienced in the forest. I was drawn to the classical Hermetic elements and elemental spirits and the prospect of communing with them. I resolved to make contact with them using a book that attempted to mix classical and pagan magical methods and lore together. While the rite was pleasing to perform, I didn’t behold anything extremely unusual during the ritual. However spiritual phenomena seemed to increase a hundred fold at my house with my parents and others witnessing several strange events.


2. When was the first time that you knew you had invoked a spirit into physical manifestation? And is this something that happens every time for you, most of the time or rarely?

My first successful evocation to physical manifestation or more correctly, to visible and auditory appearance, was during my second, traditional attempt, at evoking a spirt from the Lemegeton’s Goetia. The occurrence followed some gradual visual and atmospheric distortions where the space in front of me seemed to change. By change, I mean the walls where the spirit was to appear sort of blacked out and seemed to vanish without any discernible parameters. I started seeing small sparks or rather small flashes of colored lights and a few colored streaks in my peripheral vision. The incense smoke seemed to condense into a thick wall just behind where the triangle was placed and remained for the duration of the experiment. I was a bit confused however as the glowing smoke that appeared to collect near the triangle did not form into the spirit as I had expected it to.

If anything was there it seemed hesitant to arrive as if something was keeping it from appearing. After a while I noticed what I looked like a large shadow stepping from where the far wall was supposed to be. It came into sharper view and began to take on dimensionality. The shadow seemed to become more and more discernible as the moments went on. I simply stood there staring at it as it did so. It looked as if it simply came from beyond the wall and formed fully into three-dimensional space. The image, which at first was a dark silhouette, became discernible as an aged knight riding on a rather large horse. By “large”, I suppose that it was life size and took up the most of the chamber in front of me. I must have expected the spirit to be more compacted to stand easily within the triangle. It appeared as an apparition not like in the sense that I could see through it, but that it appeared as if I was looking through a thick fog or smoke at a solid figure in the distance. (which in actuality, I was, the Myrrh incense was also burning profusely through the room).

The spirit appeared solidly in profile and looked ominous. It/he had the long white beard and stern expression. The weapon he held was in his right hand was pointed downward, an odd looking two pronged spear which I had not recalled seeing before. He regarded me with a brooding expression, yet patient and simply waited. I gave the Address, removing my new parchment eight inch “card” hexagram from a linen pouch I made to hang from my lion belt and held it up before the spirit. At that time the knight dismounted and stood nearer to me within the triangle. Seeing it move and come even closer impressed upon me the full reality of what was occurring. It seemed to come into even better view and I noticed it looked solid, not like a ghost as I could not see through him. I still had a bit of difficulty hearing him and remember asking him more than once to speak louder. That operation took several days of pondering over and considering as my mind had trouble really accepting the experience.

Since that first successful evocation, I’ve performed several more Goetic evocations as well as angelic callings. I’ve used scrying devices such as crystals and black mirrors before. In some cases of angelic evocations my senses were filled with visions and scenarios as the angels answered my questions and I was no longer aware of the scrying device as the medium by which communication occurred. One time I tried to evoke an entity from the Goetia within a black mirror and nothing appeared there but the spirit manifested as a ghostly apparition, right behind the mirror instead. Spirits do not always arrive solidly or as clearly as others. The beings from the Goetia are ones that appear the most discernibly. I do not always try and evoke them to “physical manifestation/appearance” and sometimes prefer a scrying medium as the spirits are often able to show me other things besides their form or visage. However, I only consider the evocation successful and proceed when I can see them and their images remains. I must also hear them and be certain of their reply to my inquiries and statements. I’ve also come to rely on my other senses and feelings heavily. There is an unmistakable sense I get when a spirit is near or arrived which makes speaking to it and encouraging it to appear and speak clearly much easier.


3. What are your top ten magical books currently in your library?

Well, the magical works I have on the top first shelf are as follows:

  • Techniques of Graeco-Egyptian Magic – Dr Stephen Skinner,
  • Techniques of Solomonic Magic, – Dr Stephen Skinner,
  • The Veritable Key of Solomon (Sourceworks of Ceremonial Magic Series Vol. 4) Part of: Sourceworks of Ceremonial Magic by Dr Stephen Skinner,
  • The Fourth Book of Occult Philosophy – Ibis Press
  • The Exorcist’s Handbook – Josephine McCarthy,
  • Elucidation of Necromancy Lucidarium Artis Nigromantice attributed to Peter of Abano: Including a new translation of his Heptameron or Elements of … and commentary by Joseph H. Peterson,
  • Of the Art Goetia -Colin D. Campbell
  • Imperial Arts Volume I- John R. King IV
  • Forbidden rites A Necromancer’s Manuel of the Fifteenth Century – Kieckhefer
  • Conjuring Spirits Texts and Traditions Meidival ritual Magic – Fanger

4. What drew you to invoking angels rather than Solomonic demon binding methods?

Like others before me, I was initially drawn to The Goetia when I first became involved in classical western magic. Invoking angels or demons has never really been an either/or consideration for me however. I did became much more interested in learning from angels than simply binding demons to perform tasks.

I made a few attempts at evocation combining what I read about goetia and the Golden Dawn methods I had become familiar with. Even during those few amateur attempts, I got what I perceived as spirit presence although it did not last long and I wasn’t able to hear or speak with it. The results were enough to convince me of the validity of spirit conjuration though and I have been fascinated by spirit conjuration ever since. Years later, I came upon the works of Joseph C. Lisiewski, notably his, “Ceremonial Magic & the Power of Evocation” and was captivated by his approach towards classical magic. I became intent on conducting magical rituals historically rather than the more modern approaches which prevailed at the time. I learned how earlier Solomonic texts are/were built on the foundations of highly religious and liturgical structures that were familiar to the clergy of that day.

It took some time to reacclimate to the highly Christianized religious practices and contexts of the grimoires, having stepped away from such involvements in my late teens. However, deeper involvment eventually lead me to appreciate the occult and esoteric virtues of where this system of magic developed from. The roles of the priest and magician are nebulously blended together. My very first attempt at “Traditional Goetia” was unsuccessful however and lead to further research and development of my magical skills.

It wasn’t until after my failure trying to evoke a spirit from the Goetia that I turned to summoning angels. I resolved to create the altar tablets of the Ars Almadel (4th book of the Lemegeton) and try my luck with those spirits instead. After speaking with some magical colleagues, I felt the angels of the Almadel could assist me in developing my magical skills as well as conjuring other spirits. It was through my experiences with the Amadel that I achieved my first success perceiving a conjured spirit clearly and audibly in a crystal. Not long after working with the Almadel angels, I became captivated by the planetary archangels of the system known as “Drawing Spirits into Crystals”. This art was a very short and direct method of angel conjuration found in The Magus: A Complete System of Occult Philosophy by Francis Barrett. The experiences of these workings have altered my life in ways I will never fully comprehend but feel eternally grateful for. It is without doubt that the Archangels have influenced both my life’s course and my practice of magic.

After achieving success in the Ars Almadel, I also returned to goetia and was finally able to achieve the results of conjuring a spirit to visible and audible appearance. Although working traditionally from this system, I was reluctant to “bind” any spirit to perform tasks they didn’t wish to assist with. I became much more intent on discovering the nature and function of the spirits through dialog rather than simply demanding services of them. I found I was able to accomplish much more this way and that the spirits were far more willing to assist me. The “bindings” remained however and continue only int eh sense of the contract of the art which forbids them to work against, or harm me or my loved ones in anyway.

Since that initial success I’ve experimented with several Solomonic texts and grimoires for spirit conjuration, many of which have yielded satisfying results. For several years now, I have conducted evocations on the behalf of clients to assist them with a number of issues in order to test the results and usefulness of my workings and assist those in need of such services.


5. Who was your greatest magical influence and why?

I’ve had many magical influences since I began seriously practicing classical magic. It’s difficult to acknowledge just one contributor as different magicians have inspired me at different points in my magical career. John King IV, Author of Imperial Arts and various books definitely deserves a large amount of credit to how I approach classical magic and work from the grimoires. I followed his example in procuring the traditional implements and vestments and working from the grimoire’s instructions directly. He has also personally been a huge help in overcoming difficulties and snags along the way. Dr. Stephen Skinner is also to be acknowledged not only for his amazing works and contributions to the esoteric community, but for his personal assistance and support in my magical path and development.


6. What is your favorite magical instrument?

As someone who acquires and crafts many different magical instruments or implements, it’s interesting to consider which of these would be a favorite. In use, the incense burner/thurible and incense has come to set a space so perfectly attuned to magical working. The sight of the wafting tendrils of smoke, the smells of the lit charcoals, resin and plant mixtures immediately set the stage for magic. The wand has become synonymous with magicians and wizards and is difficult not to mention it as well. I never fully apricated the implementation of a wand until I began using it in evocation however. The magician’s wand truly serves as a device of authority and power and seems to bridge the nebulous boundaries between the seen and unseen worlds. My two main wands will literally feel as if they are gathering heat and vibration when I begin uttering my invocations and direct them towards the space a spirit is to appear. It is rather fascinating to witness energies and beings responding to how it is used and directed, and to be able to “feel” one’s intention move outward into space though it.


7. What was your motivation towards “high magic” rather than “folk magic/low magic”?

Another topic that has also never really been an either/or choice for me is the practice of what is considered “high” or “low” magic. When discussing Classical Western Magic, the aim was always the accomplishment of one’s goals. Grimoires focused on practical matters, and means to achieve certain desires in life. Even if the pursuit is purely knowledge, magic is the vehicle that is used to acquire it without passive inspiration. Magic tends to be defined against mysticism in this way: A conscious manipulation of unseen forces to acquire specific ends. The practice of spirit evocation was ever assumed to be accomplished through the assumption of the divine and/or divine authority. Although the magician would certainly need to hardness such celestial authority, the purposes were still used for practical ends. The semblance of Theurgy was the medium through which classical magicians evoked spirits, whether angel or demon, to begin with. The grimoire texts themselves are primarily formatted to Catholic liturgy, use implements and dress of Catholic clergy and are often referred to as an exorcist – a position of at least minor holy orders. Beyond the official dress and ordination of the typical magician would be the actual discipline of which prayer, trial and intense focus was essential. When viewed from this lens, the pathways of “High” and “Low” magic are not as easily defined.

The establishment of magical orders in recent history, made “higher consciousness in the understanding of God’s relationship to individual consciousness” a more prominent pursuit. Thus, magical Theurgic practices took on a different meaning from which they may have originally been considered. I don’t think I would claim that contemporary practices considered “Theurgy” would inherently give someone the ability to evoke spirits successfully, but it could definitely assist, and yes, enhance the experience overall. Involvement and conversations with angels in the pursuit of knowledge and fulfilling one’s purpose in life would certainly be on track with High Magic I would say.


8. Is there any chance we are going to see a new book from you in the near future?

My life has become even busier with family, work, activities, obligations and magical workings. I have several written works in progress but none that are quite ready for publication. My writing has unfortunately taken a back seat to my ongoing magical practice, implement and talisman making for clients and magical classes and consultations. Regardless, I am striving to complete one of these works sometime this year.


9. Are you currently giving any classes or taking on students?

I currently have four online courses or Magical Masterclasses. These are on The Skills of the Ceremonial Magician, The Lemegton’s Arte Goetia, The Lemegton’s Ars Almadel, and Drawing Springs into Crystals. These classes have been a huge success and more people are joining all the time to learn and share their own experiences and insights. I do hope to eventually have more magical workshops in person as these have been very enjoyable.


10. Lastly, tell us about your martial arts training and how it has affected your magical practice?

I have been involved in martial arts since I was five years old. My parents encouraged my involvement to help focus the abundance of energy I had along with concentration issues. I eventually found a teacher in Ninjutsu in 1999 and devoted much time and focus into learning that art. My instructor passed things on to me in 2004 and tested for my 5th degree black belt in Japan. I have been teaching classes at my own dojo ever since. Martial arts has definitely played a large part in my practice of and approach to ceremonial magic. Ninjutsu in particular has influenced my understanding of how magic functions in its most direct way through focus and physical gestures of the practitioner, especially where other people are concerned. Through the removal of doubt or distractions and any barriers of thought, intention and action the miraculous can be achieved. I use the practice of the Kuji in and Kuji kiri in various practical ways as needed. It is an excellent method to enact change at a moment’s notice without further need of implementation or ceremonial trappings. I’ve integrated this practice with other mudras and mantras I’ve combined to be used as such spontaneous needs arise. I’ve gained much insight and support from Martian spirits and angels that have undoubtedly improved my performance in the martial arts.

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Miskatonic Books is celebrating Valentine’s Day with a 14% off sale!!!

From 2/14/2023 thru 2/17/2023 we at Miskatonic Books are celebrating our true love of literature with a 14% off Valentine’s Day sale. Just use coupon code:  “val14” at checkout to receive a 14% discount on everything in your order.

Everything in the store is eligible on a first come first serve basis while supplies last.

We cannot backdate this discount to past orders and we cannot adjust orders that did not use the coupon code at checkout.

Thanks so much for your continued support and everyone at Miskatonic Books wishes you and yours a happy Valentine’s Day


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February’s Book Pick is HOLY HERETICS by Frater Acher – Limited Edition Hardcover

HOLY HERETICS: Click here to purchase copy

About this amazing author:

Frater Acher is the author of as well as a friend and collaborator of Quareia Magical Training. He holds an MA in Communications Science, Intercultural Communications and Psychology as well as certifications in Systemic Coaching and Gestalt Therapy. He has studied Western Ritual Magic in theory and practice at I.M.B.O.L.C. ( and has been actively involved in magic as a lone practitioner for more than twenty years. Frater Acher is a German national, and after several years of living abroad, he is now resident in Munich, Germany. Previous publications include Cyprian of Antioch: A Mage of Many Faces (Quareia Press 2017) and Speculum Terræ (Hadean Press 2018).

The Holy Daimon online project is a resource dedicated to research into, and the translation of ritual manuscripts from the 15th to 18th century with a focus on texts of daimonic theurgy.



Limited to 1000 copies. Bound in fine golden yellow cloth stamped in gold and black, dark grey endpapers, and black ribbon. Printed on 150gsm paper.

Holy Heretics is the third and final volume of the Holy Daimon cycle. Blending occult philosophy, magic and mysticism, Frater Acher guides the reader through the centuries with a series of practical exercises and rites which ultimately restore the powerful Olympic spirits to their original magical context.

8vo (240 × 165 mm) 6×9
272 pp
Illustrations by Jose Gabriel Alegría Sabogal



Holy Heretics is the third and final volume in the Holy Daimon cycle. Blending occult philosophy, magic and mysticism, Frater Acher guides the reader through the centuries with a series of practical exercises and rites which ultimately restore the powerful Olympic spirits to their original magical context.

Frater Acher identifies certain techniques of mysticism as a prerequisite for the work of magic, as the often missing element in the development of a serious practice. The advanced magical rites Holy Heretics contains are built from the foundations of simple practical exercises. These are provided and carefully explained. When performed, these rites form a luminous chain for the student who wishes to attain to adepthood and the mastery of empty-handed magic.

Holy Heretics offers a challenge to magicians who have reactively rejected Christianity, and a challenge to Christians who are unaware of the heretical tensions that run throughout Christian mysticism. As Acher writes, ‘I am very aware that searching for such a path among the very people who for centuries tried to usurp and control or deform and kill the Western magical tradition is a big ask. On such an expedition to find the narrow path we’ll soon be crawling through the bones, blood and ashes of our ancestors. And yet, at the same time we’ll also encounter beauty and genuine practice, true grace and deep spiritual power.’ The mystic and magician is always a threat to spiritual orthodoxy, and Acher navigates us through that difficult space. As a guide, he approaches the Christian material fairly, is generous when appropriate, and unapologetic when describing its worst excesses. The work draws extensively from manuscript sources and texts that are not available in English, illuminating a hitherto neglected world. All is done with the aim of extracting the spiritual gold of our own heart prayer, rather than imbibing the poison of orthodoxy.

In Book I of Holy Heretics we are taken on a mystical tour de force, beginning with the Desert Fathers and the austerities forged in the wilderness. From Pseudo-Dionysius the Areopagite we discover mystical prayer as a method to bypass the cognitive mind, and then enter into the inner stillness of Hesychasm. We stand with Symeon the New Theologian at the edge of the Abyss, and witness the remarkable visions of Hildegard of Bingen. We watch the potential of the mustard seed unfold, and encounter the radical this-worldliness of the Theologia Germanica, a manifesto for the gnostic practitioner that threatens the supremacy of the Catholic Church itself by directing the individual to seek their own illumination.

In Book II, Frater Acher turns his attention to magic, as an art of symphonic harmonious co-creation. The nature of the magical call is described, and the use of the magical bell introduced with historical examples. Next Acher considers Paracelsus, giving a full English translation of his little known Arcanum arcanorum, a celestial rite to summon both one’s holy daimon and the seven Olympic spirits with such a bell. The rite is expertly deciphered, from its use of alchemical tincture to its astrological timing, by following clues across the Paracelsian and Pseudo-Paracelsian corpus. The work culminates with Frater Acher’s restored version of the Ritual of the Olympic Spirit, opening the gates of the seven spirits and uniting them into one greater Olympic Spirit. The final act thus draws on all the lessons that Holy Heretics has laid out and the flame burning in our hearts.





I  On Pseudo-Dionysius Areopagite and the Mystical Path of Unknowing
II  A Most Daring Operation: The Heart Prayer
III  Being in Both Worlds at Once
Intermezzo – The Granum Sinapis
IV  Theologia Germanica


V  The Call
VI  The Olympic Spirit
VII  The Rite of the Olympic Spirit


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New Publisher Now Selling at Miskatonic Books

Today at Miskatonic Books we are proud to announce a new publisher to the Miskatonic Books website, Sauroctonos Publishing.

The quality and attention to detail of this new imprint is exciting and we can’t wait to see more from this sensational new occult imprint.

About Sauroctonos Publishing:

Sauroctonos Publishing was born on Samhain 2021 as a way to create a project that was inevitable to postpone.

The two founders joined their creative skills to create this publishing house, one of them being a rising author well known as Zulqarnayn XII. The creativity and experience of more than 20 years in printing and design by Alyi Cordoso, make it possible for this to become a reality.

Their intention is to offer esoteric and spiritual information that has real effects on their readers, with varied and different studies to the competition, it is time to give it a spin on the traditional information that circulates in the grimoires that are regularly for sale.


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Miskatonic Mystery Box SALE!

Miskatonic Mystery Boxes are back again!

Last time these sold out in hours!

Click the image below to go to straight to the product page
Each Miskatonic Mystery Box will include an assortment of occult titles. The estimated value of The Mystery Boxes are valued over $150 or more!
Please note:
  • No layaways permitted for Miskatonic Mystery Box orders
  • No box is exactly alike  although some boxes may contain single books found in other mystery boxes– all boxes will have variations of items and subject matter.
  • Some titles may have light superficial damage, including bumps or folds, or offset cover printings. Quality will vary between “Good” to “Fine.”
  • Miskatonic Mystery Boxes are not subject to return, refunds or exchange.
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Announcing Miskatonic Books Annual Community Choice Awards

As our first official blog post for 2023 Miskatonic Books would like to announce our new annual “Miskatonic Books Community Choice Award”

The awards will include:

  • Best all-around book of the year
  • Most beautifully produced book of the year
  • Best author of the year
  • Best illustrator of the year

On December 15th of 2023 the Miskatonic Books staff will choose 5 potential winners in each award category. We will then create a survey on the blog and Miskatonic Books customers will choose the winner in each category.

Winners will be announced on January 15th 2024

Winner will receive:

  • Authorized use of MBCCA Seal for personal use on website and branding
  • Personalized Plaque with the MBCCA Seal for display
  • Store credit to Miskatonic Books in the amount of $200
  • Winner and runner up will be added to the “Featured Products” section of the website for one month if titles are still available for sale.


  • Must be published in 2023, no rebinding of a previously published title
  • Must be a first edition not a reprint
  • Majority of works must be in English (some Latin, Hebrew, other common tongues allowed in minimum amounts in the form of spells or ritual aspects, etc)

Best Illustrations:

  • No AI generated images
  • Art must original or licensed for use by an original artist
  • Art must be originally published in a book published in 2023 and not previously used for other illustrative purposes.

**Miskatonic Books or any of the imprints published by the staff of Miskatonic Books will NOT be allowed to participate in this annual award.**