A richly illustrated book of images. Some of Spare's techniques, particularly the use of sigils and the creation of an "alphabet of desire" were adopted, adapted and popularized by Peter J. Carroll in the work Liber Null & Psychonaut. Carroll and other writers such as Ray Sherwin are seen as key figures in the emergence of some of Spare's ideas and techniques as a part of a magical movement loosely referred to as chaos magic. Zos Kia Cultus is a term coined by Kenneth Grant, with different meanings for different people. One interpretation is that it is a form, style, or school of magic inspired by Spare. It focuses on one's individual universe and the influence of the magician's will on it. While the Zos Kia Cultus has very few adherents today, it is widely considered an important influence on the rise of chaos magic.

A Cinderella romance from 1786, between the son of a duke and a penniless orphan. Set in the glittering aristocratic world of the Roxton family.

The Book of Satyr Magick presents a path of shamanic sorcery for the Otherkin practitioner. Complete with meditations, spells, and rituals specifically designed for the Otherkin experience, it includes daemon correspondences for over thirty different daemons as well as obscure workings such as Ordeal Rites of Predator & Prey, Kitsune-Bi crystal talismans, and using shrunken heads as artificial entities. This is a book the Otherkin community has needed for a long time and is written for all practitioners, witches, shamans, and Otherkin alike.

Man-gods born to live and love forever, the Lords of Satyr are renowned for their sexual prowess. . .and unquenchable lust. . . The Beautiful. . . Strong-willed and deeply sensual, Lord Sevin Satyr indulges freely in the delights of the flesh within the luxurious chambers of his infamous Salone di Passione, the talk of 1880s Rome. Surely the Humans who would deny his kind their pleasures can be persuaded to share them in a new Salone he plans just for them--above all, the beautiful Alexa Patrizzi. Fiery and spirited, she is made for sin. . . And The Damned A pulsing darkness grips the mind of Sevin's younger brother Lucien, the unwilling possessor of powers he cannot control. Held in the Roman catacombs as a sex slave until he was eighteen, he finds refuge in the ElseWorld--and sexual healing in the arms of Natalia, a maenad , who thinks Luc too beautiful, too young for her. But when his mirrored eyes heat to molten silver at her touch, she can only love him more. . . "Give me more!" --Paranormal Romance Reviews Praise for Elizabeth Amber's Lords of Satyr Novels "Sexually inventive and indefatigable man-gods. Bastian. . .scorches the pages." --RT Book Reviews (4 stars) "Dane will enrapture. . ..Amber is truly a maestro." --RT Book Reviews (4 1⁄2 stars, Top Pick) "You are in for the thrill of your life." --Night Owl Reviews (Top Pick) Ms. Amber writes some of the best erotic scenes and takes us on a journey into a wonderful world of fantasy." --Fresh Fiction WARNING! This is a REALLY HOT book. (Sexually Explcit)

The bewitching story of Rome teaching a lonely scholar how to discover himself, "Satyr Square"--part memoir, part literary criticism, part culinary and aesthetic travelogue--is a poignant, hilarious narrative about an American professor spending a magical year in Rome.

The origins of satyr drama, and particularly the reliability of the account in Aristotle, remains contested, and several of this volume’s contributions try to make sense of the early relationship of satyr drama to dithyramb and attempt to place satyr drama in the pre-Classical performance space and traditions. What is not contested is the relationship of satyr drama to tragedy as a required cap to the Attic trilogy. Here, however, how Aeschylus, Sophocles, and Euripides (to whom one complete play and the preponderance of the surviving fragments belong) envisioned the relationship of satyr drama to tragedy in plot, structure, setting, stage action and language is a complex subject tackled by several contributors. The playful satyr chorus and the drunken senility of Silenos have always suggested some links to comedy and later to Atellan farce and phlyax. Those links are best examined through language, passages in later Greek and Roman writers, and in art. The purpose of this volume is probe as many themes and connections of satyr drama with other literary genres, as well as other art forms, putting satyr drama on stage from the sixth century BC through the second century AD. The editors and contributors suggest solutions to some of the controversies, but the volume shows as much that the field of study is vibrant and deserves fuller attention.