Magic in Art, Poetry, and Biography
Religion and the Arts March 27, 2024 DOI: 10.1163/15685292-02801005 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Keywords | Poetry Biography Magic telescope Guardian Art history Literature Law |
| Key points | Argues that Marjorie Cameron creatively adapted and reworked the ideas of Aleister Crowley and Joseph Campbell in her artistic interpretations of her Holy Guardian Angel, and that art, poetry, and esotericism were intertwined pursuits for her. |
Abstract
Abstract The article analyzes four works of poetry and illustration produced by the artist, poet, and occultist Marjorie Cameron (1922–1995) in the 1950s and 1960s. Widow of rocket scientist and occultist John “Jack” Whiteside Parsons (1914–1952), an early follower of Aleister Crowley’s (1875–1947) religion Thelema, Cameron was also a friend and collaborator of Beat artist Wallace Berman (1926–1976) and avant-garde filmmaker Kenneth Anger (1927–2023). In the 1950s and 1960s, Cameron delved deeply into Crowley’s magical writings alongside those of comparative mythologist Joseph Campbell (1904–1987). The article especially highlights how Cameron creatively adapted and re-worked the ideas of both thinkers in her artistic interpretations of her Holy Guardian Angel. A core argument of the article is that art, poetry, and esotericism were intertwined pursuits for Cameron, and that extra-textual sources (e.g., letters and biographical details) contemporary with the analyzed creative works are helpful in untangling their meaning.