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Invocation is the imagination of a deity and the subsequent identification with this imagined image of the deity. This procedure is one of the basics of magic, because through such an identification one's own possibilities of perception and action become many times greater. This technique goes back to the late Paleolithic Age, when hunters identified themselves with a panther in order to obtain the strength and speed of a panther during their hunt. Later, the grain god was invoked in the Neolithic period, and then the One God was invoked in kingship. The effectiveness of the technique of invocation, of course, like all magical phenomena, cannot be proven by words, but at least described in such a way that you may try this technique yourself. As with almost all things, patience and practice are beneficial, but there are also some methods, such as dream travel, that make the whole thing much easier and more effective.
Ever since Esther Solar’s grandfather was cursed by Death, everyone in her family has been doomed to suffer one great fear in their lifetime. Esther’s father is agoraphobic and hasn’t left the basement in six years, her twin brother can’t be in the dark without a light on, and her mother is terrified of bad luck. The Solars are consumed by their fears and, according to the legend of the curse, destined to die from them. Esther doesn’t know what her great fear is yet (nor does she want to), a feat achieved by avoiding pretty much everything. Elevators, small spaces and crowds are all off-limits. So are haircuts, spiders, dolls, mirrors and three dozen other phobias she keeps a record of in her semi-definitive list of worst nightmares. Then Esther is pickpocketed by Jonah Smallwood, an old elementary school classmate. Along with her phone, money and a fruit roll-up she’d been saving, Jonah also steals her list of fears. Despite the theft, Esther and Jonah become friends, and he sets a challenge for them: in an effort to break the curse that has crippled her family, they will meet every Sunday of senior year to work their way through the list, facing one terrifying fear at a time, including one that Esther hadn’t counted on: love.
Drawn from the world's religions, this work takes the reader on a pilgrimage to the heart of prayer and reveals why prayer is the essence of the human condition.
The ‘A Tentative Guide to Islamic Invocations’ is a personal selection of invocations, all of which claim to be from the Prophet Muhammad (SAW) or from his immediate Companions. In other words, everything in this collection is a transmitted (ma’thur) invocation. Apart from a single narration (which is traceable to the Tabi‘ al-Tabi‘in Imam Sufyan al-Thawri [97–161 ah/716–778 ce] and who arguably would not have related it without a now-lost chain of transmission to the Prophet (SAW)), there are no non-transmitted invocations here from any of the great figures of Islamic history and spirituality after the Companions of the Prophet (SAW).
An entertaining and informative introduction to how ancient Egyptians practiced magic in their daily lives. In the ancient world, if you needed a love charm, wanted to contact your dead wife, or needed the ability to fly like a bird, the magicians of Egypt were the ones who could make it happen. In Ancient Egyptian Magic, Christina Riggs explores how the Egyptians thought about magic, who performed it and why, and also helps readers understand why we’ve come to think of ancient Egypt in such a mystical way. Readers will learn how to cure scorpion bites, discover why you might want to break the legs off your stuffed hippopotamus toy, and uncover whether mummies really can come back to life. Readers can also learn how to save a fortune on pregnancy tests—urinating on barley grains will answer that question— as well as how to use the next street parade to predict the future or ensure that an annoying neighbor gets his comeuppance. Was magic harmless fun, heartfelt hope, or something darker? Featuring demons, dream interpreters, the Book of the Dead, and illustrations from tomb paintings and papyrus scrolls, Riggs breathes new life into ancient magic and uses early texts and images to illuminate the distinctions between magic, religion, and medicine.