Azathaoth as Umbra

Azathaoth is the attempt at the reaccretion of the sultan demonic god with his infernal musicians. Maybe it is the case that the previously mentioned triteness of Lovecraftian plug ins should not result in the eschewing of this trope but rather signal an engulfing acceptance of it. If this is the case then some effort must be made to remove the negative connotations of the entities therein. Of course Lovecraft is written as horror, so the affects upon the mortal Narps are necessarily pernicious, yet contemplation of such a cosmology does not entail this negativity.

Cosmically scaled beings are not necessarily hostile in any sense of enfeebled Narp notions of evil (of course Lovecraft acknowledges this), they just have differing level of perception which may regard our very prana as at best inconsequential and worst food for its own consumption. The Cthulhu mythos though is still necessarily just that: ‘myth’. This is not a degrading notion as its acknowledgement of it; the Mythos as myth signals its movement proper from horror fiction to ontological possibility. As is invariably pointed out, the Cthulhu myth is rationally superior to many older paranormal formulas because it seems so compatible with our understanding of the universe as a terrifying vast abyss. Where we might hunt in vain for the occasional vampire appearance, the speculative manifestation of alien inter-dimensional beings seems far more reasonable (Keel, Lynch amongst others bring this notion out well).

The notion of Azathaoth as the god of letters that have not yet occurred is a first attempt to free this being from negativity. A primordial pre-ontological chaos is not evil, it has not yet even approximated this notion (which is utterly unclear even to ourselves). The putative influence of Lord Dunsay’s ‘Mana-Yood-Sushai’ upon the inception of Azathoth seems instructive. This particular deity is a creator God that must be kept asleep in order for the rest of existence to continue. This notion of the sleeping creator God is of course reminiscent of the dream of infinite space in which infinite existence dreams itself as finitude in its longing to cease. We are those finite dreams, the wish fulfilment of literal eternity.

If the Lovecraftian pantheon is to solidify its useful relation within the magicko-philosophical-theoretical factions we must cease any indulgence as servants of darkness (this kind of partisanship is not helpful to the putative distance of the discipline). Azathoth for this reason becomes Azathaoth, an ameliorative tweak of reaccretion. This barbarous name signals a deity level accretion of still abysmal depths, yet frees it from demonic accretive power (mostly) and urges us to perceive it as power of non-information itself (as speculated elsewhere on the blog by Freestone).

Azathaoth as Mana-Yood-Sushai is the sleeping god of the umbra, as non-information, information has formed around it by the possibility of discretion (Iok-sotot of Pneuma). The drum of Skarl is the steady manifestation of solid existence as pneuma, the cessation of which signals the awaking of Azathaoth and the end of all pneuma. This event too is not to be thought of as ‘evil’ negation but simply mythic end game. An end game which, if the dream of  infinite space has any cogence to it, is strictly speaking impossible, unless Azathoath can come to terms with its own infinite nature. Since we are products of its wish fulfilment for non-being (the longing for finitude), if Azathaoth could allow itself to accept its infinite nature this would signal the reconciliation of itself with its infinity. Hence on this reading our own cessation (and the cessation of all finitude) would be (if we must attribute something resembling ethics to the situation) a wholly positive outcome.


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