Oh glory of rapture, as fine as tomorrow’s promise as infinite as the body of time.
I call out across the gulf of fallen memories to the hands of bodies entwined.
Cry not for tears know not the bounds of my desire, but rejoice in the calling of those who would walk alone.
Fear dies by the hand of another as always in the hearts of man.
Lust rejoices and again the serpent sheds its skin.
For as I walk in love and the awe of a distant queen, the pain of that which is mine and yours, cry out and I will be devoured.
Come now that I might look beyond the day, make yourself as I am within the joys of your body. Make now yourself as me, as all and another, as earth and as mud.
I see across the enraged lake of prophecy, look back into my eyes until even as I am lost we are one and you may know what it is to dance in the body of man.

The words above were written in the depth of an invocation of Babalon in 1998. Her ecstatic nature seemed to dance and flow through my body, and it was Babalon who initiated me to the art of deep sexual trance.

In the famous workings conducted by John Dee and Edward Kelley, the spirit who spoke the words, ‘I am the daughter of fortitude’, who is most associated with Babalon has inspired many magickians since. Her words are seductive, powerful and unashamed as she pronounces, ‘I am a harlot for such as ravish me’, the word for harlot in Enochian is translated as Babalond or Babalon.

My first encounters with the current or archetype of female sexuality was in the form of Dayanu, or The White Goddess, then as Babalon, or The Red Goddess, and a new epicene current of masochism, The Black God/dess, Zulsa (I will discuss each of them in their own article). They are the mystery of the three that reveals the forth.