The book is of particular interest to the Satanist, Thelemite, Luciferian, nihilist, occultist, atheist, hedonist and misanthrope. The aim is to provide the greater Satanic community with a source for legitimate poetry in the modern era. The result of the book is a preservation of diabolic literature (tertium quid) separate from, but not in opposition to manuals of Magick, Satanic non-fiction, Fantasy, Sci-Fi and Horror. Throughout, the reader will encounter an outline of the rebellion from a perspective of the Irin.
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The first edition publication of the book begins with an evocation to Lucifer from the Grand Grimoire and ends with an exaltation to Satan based on the final stanza of Les Litanies de Satan by Charles Baudelaire. Several literary pivots anchor the book's conceptual continuity, words that appear with frequency are will, left and set. Often the poems are presented as court dockets with Satan as chief representative of the prosecution accusing an overseer and the archangels of celestial crimes. Although the core of the book is Satanic in nature, there are many beliefs which permeate the ideology and linguistic surface of the poems. Aspects of Thelema and Luciferianism are predominant within the moral and ethical structure of the book. Old Norse, Aramaic language, Latin, Middle English and Early Modern English are recurrently used to aid the reader and inform of etymological relatives in a poem's technique. The arc of the collection opens with anti-Christian Leitmotif followed by nihilism and misanthropy, culminating in an outline of angelic rebellion and violence. The Irin (Hebrew: עירין) or Watcher (angel) play a fundamental role in the general narrative as does the angel of death, Samael.