HEXAGON PRESS

CONTRA EQUUS NIVEUS: VOL.V

CEN V COVER

Contra Equum Niveum:
EDITORS’ INTRODUCTION

This certainly is very easy to comprehend. The difficulty, therefore, is elsewhere; there is a lower sphere of understanding which has no intimation of true love, of love in and for itself, and of this blessedness in itself. The difficulty is that a great multiplicity of illusions will hold a man down in this lower sphere of understanding where deception and being deceived signify exactly the opposite of what they signify in the infinite conception of love. According to this view to be deceived signifies simply and solely to quit loving, to be carried away to the point of abandoning love in and for itself, and in this way to lose its intrinsic blessedness. For only one deception is possible in the infinite sense—self-deception. One need not infinitely fear them who are able to kill the body; to be killed is, infinitely, no danger; nor is the kind of deception the world talks about a danger. And, again, this is not difficult to understand. The difficult thing is to fullfill the task of acquiring the true conception of love or, better yet, to become the true lover. For he defends himself against deception and fights to preserve himself in the true love precisely by believing all things. But the illusion will continually obtrude itself as does the illusion which maintains that the sun moves, although one still knows that it is the earth.”

Søren Kierkegaard

A man may loathe a thing in the abstract for years, and find at last that all the time he has been, in his own person, guilty of it. To carry a thing under our cloak caressingly, hides from us its identity with something that stands before us on the public pillory. Many a man might read this and assent to it, who cages in his own bosom a carrion-bird that he never knows for what it is, because there are points of difference in its plumage from that of the bird he calls by an ugly name.”

-George MacDonald

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Hexagon Press would like to thank the four featured writers of Vol. V for their reflections on the nature of truth, which we present in this volume as poetic admissions and/or denials that are both true and untrue. They exist among the great mysteries that acquire their form through symbols that are fashioned into catch phrases and triggers:

she died
so young
so beautiful…”

The mantra repeats.

CONTRIBUTING POETS

Ric Carfagna was born and educated in Boston Massachusetts. He is the author of numerous collections of poetry, most recently: Symphonies Nos. 5,& 9 published by White Sky Books.

Adrian Encomienda was born in Phoenix, Arizona in 1995. His writing, both fiction and non fiction, touches on the esoteric concepts. His short story, “Cicatrin” will appear in Dark Gothic Resurrected Summer 2017 issue. His work has been in numerous magazines both online and in print.

M Kitchell is an artist & yogi whose primary concerns include levitation, the impossible, and hunting the void. The author, most recently, of Hour of the Wolf (Inside the Castle, 2016) and Island (Void Editions, 2015), he lives and works in the Bay Area.

And with a special contribution by Craig McVay.

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Free copies of CONTRA EQUUS NIVEUS Vol. IV will soon be available at Adobe Books + Arts Cooperative, City Lights Bookstore, Dog Eared Books, Alley Cat Books, and Bound Together Anarchist Collective Bookstore in San Francisco, as well as Pegasus Books in Berkeley and E.M. Wolfman in Oakland. If you are outside of the Bay Area and would like a copy, write to us with your mailing address and we’ll send one free of charge, stock permitting.

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HEXAGON PRESS LAUNCHES C.E.N. VOL. V AT THE OPENING OF CASEMORE KIRKEBY’S GROUP EXHIBITION: “OPTION TO THE DEATH OF FREEDOM”

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Hexagon Press will be celebrating the release C.E.N Vol. V: Contra Equum Niveum at the Casemore Kirkeby group exhibition opening for Option to the Death of Freedom, curated by Petra Bibeau. Copies of the new issue will be available during the opening of the exhibition and thereafter while copies last.

Saturday, November 4th, 2017
6:00pm to 8:00pm

GRAPHIC 2
1275 Minnesota Street #102
San Francisco, CA, 94107 United States

The full announcement of the exhibition can be found here.

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VERITAS (PREAMBLE TO CONTRA EQUUM NIVEUM)

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Is the whiteness of your garment soiled at the hem from hiding deep inside that holy well? You are as your other sisters, in melancholic grace beside your father, time. Your song reverberates beneath the ground but never passes the remnants of the water’s edge and your face glows with ineffable serenity when the moon passes overhead.

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CONTRA EQUUS NIVEUS V: CALL FOR SUBMISSIONS

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C O N T R A   E Q U U S   N I V E U S ●
BROADSIDE V: CALL FOR SUBMISSIONS
Contra Equum Niveum”

FOR IMMEDIATE RELEASE

For the final volume of Contra Equus Niveus, which we have entitled “Contra Equum Niveum” in deference to the niceties of Latin grammar, Hexagon press would like to conclude (this phase of) its polemic against the white horse by considering the multifaceted nature of ERROR, and how it expands exponentially, rhythmically shifting between the poles of naiveté and malice. Error can serve to both reinforce and obscure the truth, to the extent that one can act in error while believing to serve truth (as it is perceived by the mind) and, as this process unfolds, become increasingly aware of lingering error, using it as a launching point upon a shore which is now that much closer to the sought-after truth. Sometimes it is an outside rupturing of truth penetrating inward that can rise in the form of a great calamity to reveal how far astray illusion has led reason, ever acting with the best of intentions, in its course across the heavens.

The question thus reappears throughout the ages, each time seemingly more expansive and allusive than its previous incarnation, yet at the same time unchanging and perennial, and presents itself to us once again: What is real and what is fake? The increased blurring of these terms seems to ride alongside the progression of time and leads us, today, to ask ourselves: where does POETRY lie in all of this and does it too move within the paradigmatic spectrum of truth and falsehood? Is deception an impure amalgamation of both, since it must ride upon truth in order to unleash its falsity? How can a poem become fraudulent within the closed realm of subjectivity that grants such unlimited freedoms to poet and reader both? To put it in the mundane terms of our current “socio-political” crisis of falsehood and misdirection: in an era of “fake news,” is “fake poetry” also a danger which must be considered?

Submission Guidelines:

Previously unpublished poems and short prose (500 words or less) that consider these things.

Please include a short biographical statement (50 words or less) with each submission.

Email all submissions as attachments (.doc or .pdf only) to hexagonpoetics@gmail.com.

Broadsheet Number Five will be printed in an addition of 200 individually numbered, cardstock sheets.

Sincerely,

James Bradley & Brittany Ham,
Co-Editors, Hexagon Press

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MAMMON

Mammon

There is the master who transcends likeness (for He is not any one thing but all things) and there is the master who wears a different robe for every servant who seeks his knowledge and his favor. In his myriad of forms he is inherently the same and the finitude of Earth’s covering grants him unlimited power within the temporal horizon. His simultaneous liberation and confinement elicits a call of worship and his temples may assume any shape, so long as they fall within dimensional bounds and are adorned in the embellishments of the ages. Mammon interplays the past and the future and sanctifies his key attribute, which is the forever now. Many of his servants know nothing of him and he has consecrated many of his temples subliminally and given each their own codex.

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And this master has power over the senses and he projects sensations of light and sound as cool effusions of painted air rise out of his temples. The native underbrush shivers quietly in the distance daring not to approach the clearing immediately surrounding the structure’s finely-wrought outer gates. There are many thousands of these temples intermixed across the landscapes and they each hide in the guise of physicality, taking whatever incarnation they please – for they can become anything that exists within the closed world of things. To defy Mammon is to gesture towards an absence, the expression of which is both a medium and consequence. The symbol is half rooted in the real and is the vessel to which a thought may attach itself.  The dedicated objects of worship are painfully detailed so that their beauty both overshadows and reinforces Mammon’s teachings simultaneously.

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Traces of his paradise in the natural word, as seen by his followers, are found in the gilded veins of leaves hanging motionless beneath the late summer sun and in the cascading bands of finely-spun silk stretched across the ends of the earth, undulating in the lightness of their weave. The colors move in and out of one another in one fluid sweeping motion as the brightness of their tones casts different values of light across the earth. The weight of the rose in full bloom causes it to recede into the blackness between its overlapping branches. Blankets of leaves marbled with yellow and green tones extend out into the distance. The sky and the land are equally saturated with color and appear as if they shared the same plane – and in the council of Mammon, nature is most beautiful when it bears the qualities of that which is made and brought into being by the will.

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ANTIDOTE (Part 2)

Dante_Homer_VirgilEditors’ Introduction: The following is the concluding entry in a two-part series of posts by guest contributor Scath Beorh on the topic of “Mythopoetics.” Part one, which offers definitions of the various mythopoetic categories, can be found here. In this concluding section, Beorh elaborates on the nature of Mythopoetics and discusses the role of the mythopoet in a society in need of divine guidance. We again would like to thank Scath for allowing us to feature his work.

LOGOS PREDICATION CHART OF TRAVEL

THE PRIMORDIAL SOURCE BEYOND OR OUTSIDE OF ALL PREDICATION & BEING (ONTOS) -> BEGETS LOGOS (NOUN, REASON, WORD) WHOSE ACTIVE FORM IS  RHEMA (VERB) WHICH  PREDICATES THOUGHT ->  PREDICATES WORD ->  PREDICATES DEED -> ALL THREE LEAD TO THE  GIFT OF THERIAKE (ANTIDOTE) VIA THE BLOOD OF JESUS -> WHICH BRINGS HEALING -> WHICH BRINGS  ATONEMENT WITH & PERFECTION IN THE PRIMORDIAL SOURCE (GOD)

The mythopoet not only trusts no man to lead him—for the promises of God are his foundation—he also nurtures a distrust of all socio-political assertions. At the same time he honors them so that those who follow them can see the light he carries without being able to find fault with him. This measure is principal for the mythopoet who has not only seen the isolation of his own beliefs, but watches the suppression of ancient wisdom at the hands of dogma designed to maintain control of a fragile paradigm threatened by the power of righteousness. Babylon can be found everywhere that righteousness asserts itself. In churches as well as in governments; in universities and well as in the local grange, the insidious creep of control over the people may be found.

Mythopoïesis—the primary tool of the true poet—carries a three-fold purpose:

  • To provide a constructive thesis to use as a guideline for abundant living full of creative and godly imagination;
  • To supply a synthesis of all truths as they relate to Logos Predication;
  • To impart a destructive antithesis equipped to pull down insufficient and aspects of life that have fallen sway to sinister paradigms.

The mythopoet imposes his vision upon a place, refusing to accept a paradigm from it. He weaves a variegated tapestry, often writing of anything and everything. As with any proven artisan, he has his constant—his underlying theme which bleeds through even his most bizarre and seemingly disassociated works.

The creative imagination of the mythopoet is a righteousness-seeking and righteousness-intensifying talent which creates a true vision of reality. He has taken it upon himself to write, and re-write, history if necessary—keeping in mind the ancient mandate that the seanachie, or lore-keeper, should never change the most important facts which work as the unamendable fabric of the narrative. Any rewriting that the poet does is to be done in the spirit of clarification where core truths have been tampered with. It is the very Logos who gives the mythopoet his magical, conscious, far-reaching, and seeing mind needed to maintain the received narrative. With this work of the protection of received wisdom, the mythopoet, as with any seer of the people, may be found at work with narrative that at first may be seen as new lore and undocumented legend, but later understood as valid primeval symbolism and celebrated archaic vision kept hidden by the ancients, thus thought lost.

Mythopoïesis carries the distinct ability to raise history to a different power, and as a body of work is read and re-read, the student moves to higher and higher ground. The mythopoet actually writes place into existence, and destroys soured or profaned places that prove themselves unnecessary to a rightwise existence. Further, the mythopoet reveals his co-creative connection to the Logos by bringing into existence places previously nonexistent.

The linear historian skews what happened in order to propagate the narrative of the dominant paradigm, no matter how profane. The mythopoet, though, writes into existence what should have happened, and so it does happen on some other—and far more important—plane of being. Therefore, mythopoïesis stands as a more philosophical and serious activity than historical writing.

Poets who cause loss of face are not usually desired as comrades, and are persecuted, if not by governments, then by the critics who claim to speak for the people. Friendship and estrangement, however, are the same for the mythopoet, for he sees no one as his enemy and all as potentially ready to hear his message of righteousness and atonement with the Logos. He feels secure in the arms of the One who goes before him. In this place of rest, the mythopoet finds both his peace and his voice as he seeks a rightwise existence in each moment of his life. As the Logos walks with him in the cool of the day, he stands in awe of that Presence and, with eternal gratitude, realizes his atonement with this selfsame Presence.

The mythopoet is called to magnanimous duty, and to shirk this calling is to run from communion with the Logos.

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Scáth Beorh writes stories permeated with themes of violence, brutality, anguish, punishment, magical realism, and blurred lines between this and the afterlife. Sometimes veiled and at times more overt sarcasm about Christian values and moral inconsistencies underline an ingenious design behind the entertaining tales. The quality of the writing and storytelling indicate an extremely well-informed and competent storyteller. Beorh is the author of the novel The Vampires Of Dreach Fola (JWK, 2016), the story collections Children & Other Wicked Things (JWK, 2013) and Classic Ghost Stories (Editor, Crucifixion Books, 2017), the poetic study Dark Sayings Of Old (JWK, 2013), and the novels The Witch Of Ballinascarty (Ghostley Books, 2017) and Pinprick (Ghostley Books, 2017). Forthcoming works include The Annotated Nephilim Field Guide, Ghostly: A Novel Of Postmodern Ireland, Uncle Treacle’s Bestiary, Hollywood & Vine, The Horror Of Rue Royale, and Stained Glass: Mythopoeic Storeys.

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ANTIDOTE (Part 1)

Johannes-verschlingt-das-Buch-by-Matthias-Gerung-circa-1530-1532Editors’ Introduction: The following is the first in a two-part series of posts by guest contributor Scath Beorh on the topic of “Mythopoetics,” in which Beorh defines the basic categories involved. We’ll publish the second part, in which the role of the poet is considered in light of his or her true role as mythopoet, in about two weeks. Many thanks to Scath for his insights.

Mythopoetics is worked in three descending levels:

  • Theriake
  • Myth & Legend
  • Speculative Fiction

The highest level of Mythopoetics can be called Theriake, when myth and dynamism meet and combine in the storyteller. Since this ‘keeper of lore’ carries an undiluted theriake, or antidote, for the poison which fills and kills mankind, he becomes an inextinguishable light and healer for all who come into contact with him. His life is often transformed through martyrdom, though sometimes he leaves us through a natural death. On the rare occasion, he departs in toto into Eternity. Paradigms of such ‘living myths’ from the Hebrew tradition are Moses, Solomon, David, Enoch, Elijah, Elisha, Stephen, Peter, Paul, John the Beloved, John of Patmos, and, of course, Jesus of Nazareth and those who wrote of Him. Later we have, among many others, Patrick, Francis of Assisi, Gemma Galgani, and Thérèse of Lisieux. This level is perfect Logos/Rhema predication. The storytellers both live and speak theriake, those looking to the coming of the Christ less so than those experiencing the Christ firsthand. The theriake itself sets forth several things at once:

  1. The Who and What of the Source of Life
  2. Eternal promises made to all who hunger and thirst after righteousness
  3. Atonement, peace, and abiding for those who endure to the end

The next storytelling level is Myth & Legend, which most usually does not put the life of the storyteller in any danger.  Nevertheless, the stories told are considered lofty, and do have an enormous amount of theriake. Logos/Rhema predication in a secondary form is found at this level. Philosophy and Theology find their homes here. From the Greek tradition we have Aesop, who was an Ethiopian slave. From China we have Lao Tzu. Northern Europe gives us J. R. R. Tolkien, George Mackay Brown, Lord Dunsany, James Joyce, T. S. Eliot, and others. Norse and Irish myths fall into this category, as well as the myths and legends of many other world cultures. The storytellers often live the theriake while they speak it, but this is not always the case.

The next level is called Speculative Fiction and has been divided into three styles: Fantasy, Science Fiction, and Horror. Fantasy and Horror have been with us for millennia, and much of these two verge on being mythological. Sci-Fi is a recent addition ca. the 19th century. Allegorical Fantasy falls into the Spec-Fic category. Ray Bradbury is a master of Spec-Fic. The three styles, or genres, work with the feelings and emotions of wonder, terror, and horror… and generally ask one or more of the questions How, Why, What, Who, When, and Where. Ghost Stories additionally give us our forgotten histories as well as frightening glimpses into spiritual realms unclean or beneath divine judgment. At times the storytellers carry antidote, and when they do, sometimes they live the theriake while they speak it, but this is a rarity. Most fantastic writ is not mythopoetic.

Part two can be found here.

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Scáth Beorh writes stories permeated with themes of violence, brutality, anguish, punishment, magical realism, and blurred lines between this and the afterlife. Sometimes veiled and at times more overt sarcasm about Christian values and moral inconsistencies underline an ingenious design behind the entertaining tales. The quality of the writing and storytelling indicate an extremely well-informed and competent storyteller. Beorh is the author of the novel The Vampires Of Dreach Fola (JWK, 2016), the story collections Children & Other Wicked Things (JWK, 2013) and Classic Ghost Stories (Editor, Crucifixion Books, 2017), the poetic study Dark Sayings Of Old (JWK, 2013), and the novels The Witch Of Ballinascarty (Ghostley Books, 2017) and Pinprick (Ghostley Books, 2017). Forthcoming works include The Annotated Nephilim Field Guide, Ghostly: A Novel Of Postmodern Ireland, Uncle Treacle’s Bestiary, Hollywood & Vine, The Horror Of Rue Royale, and Stained Glass: Mythopoeic Storeys.

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