Mohaveh owes a lot to both Kabbalism and to Justin’s Book of Baruch. Justin’s work describes the twenty-four angels of Elohim and Eden as trees in the garden, the tree of life (Baruch) being one such tree. Each tree is paired with another (Baruch is paired with Naas, tree of the knowledge of good and evil) and each pair is divided by its primary affinity for either Eden or Elohim. Each angel is a self-contained enunciation and, as I read their being called ‘trees in the garden,’ all of those enunciations are kin to the model detailed in the Sefer Yetzirah.
A few weeks ago, I sat down on the floor to do my weekly geomantic reading. As soon as I had drawn it, I could see it was the inverse of a sign that has shown up a couple of times fairly recently. As I sat with it, absorbing the inverse image, I felt this great shift inside my body and a song started to rise up. As I hummed and began to sing it quietly, I got very hot, then very queasy.
I could feel the song catching on the inside of me, tugging, and I had a sense of where it was headed. There was brief phase of futile negotiation (maybe this can just be the subtle sort of cleanse?), followed by a some internal resistance as I huddled close to the toilet, and then I retched.
I’ve been reading Buckley’s Female Fault and Fulfilmennt in Gnosticism and in it she briefly articulate the five aeons of the Apocryphon of John and makes clear that the five aeons are, in fact, ten aeons; each of the five aeons is divided in two according to a principle of gendered duality. Oh, yeah, and that duality is gathered together into an overarching third (Father over the Mother and Son). While trying to keep firmly in mind the maxim about things looking like a nail when you are holding a hammer, it is a little difficult for me not to think about Kabbalism as I read this.