When many characters meditate on the same symbol in different times, a weird kind of 3-T (instead of 3-D) geometry emerges, and the book, like a diamond, can be studied and admired for how it catches these lights- or times-- and refracts them through all its facets, enlivening and deepening its meaning. (BSOTO-WMRO-- brilliant statement of the obvious, with mild rhetorical obfuscation).
How many times or facets? At least Aegypt time, 1500's, 1900's.
Reading Crowley is so unlike reading a fast-paced, clock-driven thriller. The time passing is not minutes, days, but epochs-- vast and subjective periods of time-- yet unpredictable like the interval of a water drop, gathering to its moment. Is the book linear, cyclical, down and back? Have I reached the middle yet? The middle of the text-- or of my understanding? Even when read, will I ever be to the bottom of it? Questions all of an orienteering nature.
Waves reach the shore. The last was a Moffet wave, now comes a Dee wave, or a Bruno wave. It is pleasant to watch the waves come in and examine what they bring from the sea.
It will take an absolute wizard to satisfy all the expectations, to answer all the questions that have been raised. But is the author responsible for the answers? The book will be different for each one who reads it, and its revelations differing by the various gifts brought to it by its readers. This has been said before on JC's journal page.
The experience of reading Crowley is, well, "timelessness." How this is achieved is apparently through the lavish (though it does not seem excessively lavish) taking of time to express the "life" of any given moment. These moments are chosen carefully perhaps, or perhaps it is the particular gift of the author to be chosen by them? Whoever, whatever chooses; it works. Those of us susceptible are caught like bugs in amber, suspended in a dream from which, lucky for us, we desire no release.
I would say that Crowley's intentionally or unconsciously "overloaded language" is what makes all the difference in creating a powerful experience for the reader, though the effects obtained may remain subliminal or at least subtle when attached to ordinary words. "Overloaded" is not a negative comment here, but rather a reference to computer programming, where variables can be made to accomplish more than one task. Though no single example comes to mind, I find he often manages to use simple sentences to bear heavy emotional and intellectual traffic for which I am unable to locate the exact trigger anywhere in the words themselves. Perhaps this is done through our memory of tone, or an below the surface allusion to a past passage. It may be a series of related, un-fullfilled tropes finally filling our drop so that it eventually (where for each of us?) falls.
Many who like to read Crowley, do not take the time to analyze why they enjoy the reading. Many could not, I suppose, explain what they feel at all. The feeling one gets begins to evaporate as soon as one begins to describe it. It is not local, it is global.
How many can explain proficiently the difference between good wine and bad wine? The palate knows even when the mind has no formal definition to offer.
Palindromes are perhaps not specifically related to the Aegypt Cycle. There may be no actual beginning and end-- but there sure is a lot of middle! And of course a palindrome has always got one of those. And though it says above that they never wander too far from home, there is a particular example of a palindrome that can go on to infinity. It does so by expanding in the middle!
The kernel is: never even
Composed of nine letters, this can be read as a true statement.
When you add the word "ever" you get: never ever even
Now you can add the word "ever" to the middle as many times as you like. It will always be a palindrome, and will never, ever, be even.