Categories
Contemporary Insights

Literature meets ‘Magik’, A research into Occultism and trying to understand the genre.

I would like to dedicate this post to my uncle Karl Stone, thank you for being my inspiration and sparking my interests towards this wonderful, inquisitive genre. There are a million questions I wish I could ask you about your work, but these will have to wait. Until then, I hope you have found the answers to the questions you were looking for to do with this weird and wonderful genre and we hope to make you proud with a complete ninth book.

Occultism is defined by the Oxford University Press as ‘supernatural, mystical or magical beliefs, practices or phenomena.’ The word comes from the Latin Occultare meaning ‘secrete’.

With reference to the definition above, this genre of literature is no short of a secret. It isn’t everyday you hear of people reading a book belonging to the genre of Occultism, which is often viewed as a sub-category to the supernatural or fantasy categories. For context, my uncle was an author who wrote under the penname ‘Karl Stone’. During his career, he published 8 books, with his most popular titled ‘The Moonchild of Yesod: A Grimoire of Occult Hyperchemistry, or Typhonian Sex Magick’, which was published in 2012 with only 418 copies available to purchase. Stone numbered each of the 418 copies and signed them to create authenticity and ensure that those who purchased the book would receive original copies, not duplicated ones. I was 6 years old at the time the book was published, and widely unaware of the literary mind field that Occultism was and that my uncle was a cornerstone of its writing. I always knew that whatever it was, he had a passion for it, and he was good at it.

Sadly in 2019, he passed away leaving one incomplete book. By this point I was 14 and left with more questions than ever surrounding the genre of his writing. As my passion for literature grew, I longed more than ever to be able to speak to him about his works. The questions I wanted to ask him were ones I could no longer ask, and I made it my goal to take matters into my own hands and research this mysterious, hidden part of literature – drawing light on a subject he dedicated his career to. Now that I am at KCL, it only feels right that granted the opportunity to write about something, I choose to write about him, honouring his legacy and shining light on a genre which shifts the perspective of the world into one that leaves you questioning everything from the moment you engage with it.

I am choosing to focus on The Moonchild of Yesod described as ‘a grimoire of Occult Hyper chemistry… for the use of the practicing Occultist and Hyper chemists.’[1]. My first point of call when I began my research was to find out what a ‘hyper chemist’ was and the sort of things they practice. However, I was left disappointed when I did not get a clear answer from Google. ‘What is the job of a hyper chemist?’ provided no insight into the type I figured my uncle would write about, as it was obvious that this was not just a reference to a regular pharmaceutical chemistry. Stone was viewed as a ‘hyper chemist of the Trans-Himalayan system’ to his audience who compared him to other renowned authors in the filed such as Madame Blavatsyky, a Russian American mystic; Aleister Crowley, an English Occultist and Kenneth Grant, an English ceremonial magician who was an advocate of the Thelematic religion.

The religion of ‘Thelema’ was ‘a pre-Christian witchcraft religion’[2] which I assumed would have influenced my uncle to incorporate the theme of witchcraft and religion if Grant was his muse. As I began de-constructing the title, ‘Yesod’ is found in Jewish Philosophy. It comes from a node found in the Kabbalistic Tree of Life and referencing the base. The symbol of ‘Yesod’ can be found incorporated in Stone’s book where he makes references to it, for example, “The yesodic sphere is the landscape of illusion and glamour, it is the play of Lila, the world of appearances (sattwa, essence, kalas, substance or tincture) which composes the structure of the four qabalistic worlds.”[3], “To the qabalist, the Tree of Life is a living dynamic metaphysical template which indicates the relationship between God (YHVH) and Man (Adam Kadmon).”[4]. Spiritually, it is connected to the moon and unlocks a realm of spirituality and the subconscious, hence the title ‘The Moonchild’. I personally imagine he chose this title because the Moonchild in question is awakening into this world of spirituality. This could perhaps reflect on how my uncle felt when he first delved into the realm of occultism, as a new child within this obscure literary genre. It would have been interesting to know his reasoning for the title and whether this interpretation is correct. However, based on how invested he used to be in his work, perhaps it is.

The community surrounding Occultism is relatively small, and it is not easy to find one that you can become part of. Overall, the genre lacks exposure to the public due to the nature of articulate knowledge needed and the extent of research one must conduct. Those who delve into Occultism normally have a background or interest in witchcraft, supernatural beliefs, conspiracies, religion or herbal medicinal practices. Existing communities tend to stay hidden as most members practice Occultism as a lifestyle or profession. Occultism is all about gaining an awareness of a world that goes beyond human life form and accepting that there are other entities and  supernatural elements combined with scientific elements, which people find difficult to commit to.

As for the reviews, The Moonchild of Yesod is rated a 4.55 on Goodreads, with majority of readers having a deep understanding of the genre itself. A review posted on the 30th of December wrote “This is a scholarly work that I recommend for intermediate to advanced students”[5]. Jordan Fitzgerald also went on to say, “Karl Stone will be known as one of the trailblazers of the occult avant-garde of this century.”[6]. To see such positive appraisal for my uncle was something that made me quite emotional and part of me hopes that he was able to read these reviews and be made aware of the impact his writing had on the Occultist community.

One user, named ‘C’, rated the book 2 stars, saying how he was ‘Trying to be Kenneth Grant’.[7] However, I think with a genre such as this one, it is difficult to try and impersonate a previous author because of the nature of the research and compilation that goes into producing a book like The Moonchild of Yesod. Rather than a case of ‘trying to be’, Stone wanted to show how Grant’s work inspired him, and other critiques have said to use Grant’s work as a starting point to educate as a ‘beginners guide’ to understanding The Moonchild.

From this experience, I know my research into Occultism is yet to finish as it has only just begun. As my relationship with literature continues to grow throughout my degree, my research will hopefully broaden, and I will develop a greater and in-depth understanding of the books Karl Stone has written and the ones that lay beyond. I highly encourage anyone reading to research the genre for yourself and form your own opinion towards it. The world of Occultism is one which keeps on giving and I would hope that my uncle is aware of how successful his input to the genre was.

As of 2025, my family and I are hoping to get in touch with authors and Occultist professionals to work on his incomplete manuscripts and publish his last book to add to the collection he accumulated. I know this is something he would have wanted, and the manuscript will be in good hands.

Written by Natalia Georgopoulos

 

[1] Transmutation Publishing. (2018). The Moonchild of Yesod by Karl Stone. [online] Available at: https://www.transmutationpublishing.com/inventory/moonchild-yesod-karl-stone/ [Accessed 25 Feb. 2025].

[2] White, E.D. (2018). Wicca | History & Beliefs. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/topic/Wicca.

[3] Stone, K. (1AD). The Moonchild of Yesod: A Grimore of Occult Hyperchemistry, or Typhonian Sex Magick. United Kingdom: The Imaginary Book Co, p. 31.

[4] Stone, K. (1AD). The Moonchild of Yesod: A Grimore of Occult Hyperchemistry, or Typhonian Sex Magick. United Kingdom: The Imaginary Book Co, p. 39.

[5] Jordan Fitzgerald, December 2015 https://www.goodreads.com/book/show/15763429-the-moonchild-of-yesod

[6] ibid

[7] C, January 2025 https://www.goodreads.com/book/show/15763429-the-moonchild-of-yesod

Categories
Early Modern and Shakespeare Life writing, Creative writing and Performance

Theatre Review: Much Ado About Nothing by the Jamie Lloyd Company, at the Theatre Royal Drury Lane

Izzi is a Master’s student on the Shakespeare Studies MA at King’s and the Globe Theatre, having completed her undergraduate degree in Classics and English at the University of Oxford. As her MA suggests, she loves all things Shakespeare and early modern drama, and she regularly watches and reviews modern productions of Shakespeare plays. Although you wouldn’t know it from how much she loved Much Ado, Izzi’s research focuses on bodily violence on the early modern stage.

Izzi has written the below review for the most recent production of Much Ado About Nothing (2025): Jamie Lloyd Company, Theatre Royal Drury Lane.

Verdict: 5 stars

Coming off the back of his rather dark and pessimistic production of The Tempest, Jamie Lloyd’s Much Ado About Nothing couldn’t be more refreshingly different. The bleak and barren sand dunes of Prospero’s island have been swapped for a stage covered in bright pink confetti, with a massive pink heart floating at the back of the stage. Lloyd re-imagines Shakespeare’s Sicilian comedy in a world of 90s disco, glittery jumpsuits, and massive Masked Singer-cum-Disneyland headpieces to absolutely fabulous success.

While in his Tempest the casting of Sigourney Weaver as a female Prospero was somewhat disappointing, Lloyd’s choice of Hollywood A-listers in the form of Marvel’s Tom Hiddleston and Hayley Atwell is inspired. The pair’s flirtatious repartee during the opening scenes perfectly captures the constant exchange of digs between Beatrice and Benedick, Messina’s most eligible bachelor and bachelorette. Both make perfect use of their Hollywood heartthrob status when appealing to the audience: Hiddleston delivers Benedick’s iconically self-centred line ‘I am loved of all ladies’ to rapturous applause and wolf-whistles, and the two of them seem to delight in dancing suggestively together wherever possible. The pair’s physical comedy during their respective trickery scenes is delightful, with Hiddleston’s attempts to hide himself with armfuls of pink confetti bringing the house down.

The production is high energy, high camp, and high fun-factor, motivated by a soundtrack of 90’s bangers, often sung by Mason Alexander-Park’s Margaret, accompanied by group dance numbers. That is, until a poignant switch in mood created by Claudio’s bitter condemnation of Hero at the altar for her alleged infidelity, egged on by Don John, played by Tim Steed. Steed brilliantly approaches the tricky John the Bastard plotline by showing himself consciously adopting the persona of a vaudevillian villain, complete with pantomime ‘mwah-hah-hah-hah’, in order to wreak havoc in Don Pedro’s court. His seemingly frivolous mischief, however, creates terrible consequences for Mara Huf’s Hero, whose speech in defence of her honour is powerfully resonant in a post Me Too world. This tricky scene, which can leave a bitter taste in the mouth of a modern audience when the couple reconcile, was expertly navigated: I was pleasantly surprised to find myself genuinely happy for Hero and Claudio when they reunite at the end of the play alongside the loved-up Beatrice and Benedick.

Jamie Lloyd’s Much Ado About Nothing is an absolute must-see if you’re a fan of Shakespeare, a fan of theatre, a fan of disco, a fan of Tom Hiddleston, a fan of pink… the list goes on.

By Izzi Strevens

Categories
Contemporary

London’s Literary Landmarks: Exploring the City Through Literature

London has a rich literary history, with its streets and landmarks closely tied to the stories and characters that have shaped English literature. For students at KCL, the city offers a unique opportunity to step into the worlds of the authors and texts studied on campus. Here is a guide to some of London’s most iconic literary landmarks, perfect for a weekend exploration or an afternoon of inspiration.

1. Shakespeare’s Globe Theatre No literary pilgrimage in London would be complete without a visit to Shakespeare’s Globe. Located on the South Bank, this faithful reconstruction of the original Elizabethan playhouse is a testament to the enduring legacy of William Shakespeare. Whether you attend a performance or take a guided tour, the Globe offers a glimpse into the theatrical world of the Bard and the vibrant cultural life of early modern London.

2. Charles Dickens Museum For fans of Victorian literature, the Charles Dickens Museum in Bloomsbury is a must-visit. Housed in the author’s former residence at 48 Doughty Street, the museum preserves the rooms where Dickens wrote and lived. As you walk through the house, you’ll see personal artifacts, manuscripts, and first editions that bring to life the creator of Oliver Twist and Great Expectations.

3. Keats House In Hampstead, you’ll find Keats House, the home of Romantic poet John Keats. This Regency villa is where Keats wrote some of his most famous works, including “Ode to a Nightingale.” The tranquil gardens and period interiors make it easy to imagine the poet’s creative process. Regular events, such as poetry readings and workshops, are held at the house and serve as the perfect opportunity to immerse yourself in his work.

4. Bloomsbury and the Bloomsbury Group The Bloomsbury district is synonymous with the Bloomsbury Group, an influential collective of writers, artists, and thinkers that included Virginia Woolf, E.M. Forster, and Lytton Strachey. Strolling through Gordon Square or visiting the nearby British Library offers a sense of the intellectual ferment that characterized this group. Don’t miss the chance to explore Woolf’s connections to the area, as her work often reflects the cultural and social shifts of early 20th-century London.

5. Poet’s Corner, Westminster Abbey Westminster Abbey’s Poet’s Corner is a hallowed space where some of English literature’s greatest figures are commemorated. From Geoffrey Chaucer to T.S. Eliot, this corner of the Abbey celebrates centuries of literary achievement. As you stand among the memorials, it’s hard not to feel a profound connection to the writers who have shaped the English language.

6. Sherlock Holmes Museum Fans of detective fiction will enjoy a visit to 221B Baker Street, the fictional home of Arthur Conan Doyle’s legendary detective Sherlock Holmes. The museum recreates Holmes’ Victorian sitting room, complete with period furnishings and references to his famous cases. It’s a fun, immersive experience for anyone who loves a good mystery.

Exploring these landmarks not only deepens your appreciation for the texts and authors you study but also allows you to see the city through their eyes. So, why not take a break from the library and embark on your own literary adventure through London? Who knows—you might just find inspiration for your next essay or creative project.

Categories
Early Modern and Shakespeare

Shakespeare Centre London and Shakespeare’s Globe 2024 Graduate Conference

The annual Shakespeare Centre London’s post-graduate conference, hosted by both King’s College London and The Globe, takes place 10th-11th May. With Dr Natalya Din-Kariuki, Professor Tiffany Stern and Rob Myles as plenaries, the event promises to be a fascinating meeting of scholarly interests and academic disciplines, exploring what the term ‘Innovation’ means to our understanding of the early modern today.

Categories
Creative Practice, Performance and Theatrical Culture Early Modern and Shakespeare Gender and Sexuality

Review: The Masks of Aphra Behn by Claire Amias

By Amalia Costa

The year is 1677, and Aphra Behn has gatecrashed her own play. Instead of a pre-scheduled performance of The Rover, Behn takes to the stage to tell the story of her life up until this point, in a one-woman show by Claire Amias, whose charismatic portrayal of Behn reveals a character study rich in humour and pathos.