Qutub by Andrew D. Chumbley

Qutub Reviews

• 
  Zemaemidjehuty

  Chumbley doing what he does best, weaving together beautiful words of power and elegant calligraphy.
• 
  Maximus

  I’m not sure where to begin with this work. Regarding it in the context of Chumbley’s other work, I found it especially helpful in elucidating parts of the Azoëtia. In a way though, I feel this book contains the essence of his entire body of artistic work. It names without naming the language spoken between artist and muse as the fundamental root to all mysticism. Belief itself is mercurial and utilized by the artist in their articulation of this relationship.
  
  Although this book is “Sufic”, I found a lot of parallel concepts in the poetry of the Tao te Ching. I am not well versed in the Tantric traditions but I suspect there are many connections to be made from those currents with this work as well.
  
  The commentary section following the 72 verses of poetry is an exceptional account of Sufic history. As I make my way through Ibn al’ Arabi’s writings this sections acts as a touchstone for seeing principle Sufi concepts, and practices, utilized artistically without losing authenticity to their origins.
  
  (I’ll be editing this review as I continue to digest this book. 9/17/24.)
• 
  Thomas Pinneck

  Qtub is Andrew D. Chumbley’s poetic masterpiece that weaves together layers of esoteric tradition, mysticism, and sorcery in a way that defies easy categorization. Unlike typical occult texts that outline rituals or provide practical instruction, Qtub is a journey—one that flows through initiatic currents and across spiritual landscapes both ancient and modern. Chumbley doesn’t just write about the Crooked Path; he draws readers into it, where language itself becomes a talisman and verse a ritual act.
  
  At its core, Qtub traces the mystical current of the Opposer—a force that runs counter to conventional spiritual norms but is integral to Chumbley’s Sabbatic Tradition. The title itself, “Qtub,” refers to the Arabic word for “axis” or “pole,” representing a pivotal force in the cosmos that governs transformation and initiatic power. Chumbley’s exploration of the Opposer isn’t rooted in negativity, but in the dynamic tension that drives spiritual evolution. His work draws from sources as varied as Yatukih sorcery of ancient Persia, the Yezidic veneration of Shaitan, and even the paradoxical, ecstatic movements of the Sufi dervish. Each tradition serves as a thread in the complex tapestry of the Sabbatic Craft.
  
  The structure of the book is a work of art in itself. Composed of 72 verses, Qtub unfolds as an evocatory poem, with each verse acting like a magical incantation. The language is dense, symbolic, and steeped in the kinds of metaphors that demand slow, contemplative reading. Chumbley’s prose is not meant to be read quickly or casually—it requires a meditative approach, allowing the imagery and symbolism to reveal their deeper meanings over time. The poetic verses seem to follow the initiatory arc of the Adept, shaping the reader’s own psychic process as they engage with the text.
  
  Accompanying the verses are 11 talismanic illustrations, each acting as telesmata—sacred symbols designed to unlock specific aspects of the spiritual journey Chumbley describes. These illustrations aren’t merely decorative; they serve as portals, helping the practitioner to internalize the mystical currents discussed within the text. As with much of Chumbley’s work, the art and words together form a holistic magical act, where the written word becomes a living symbol and the illustrations invoke unseen forces.
  
  One of the key concepts Chumbley introduces is the notion of the Design, which he describes as a web of interconnection through which the magical current of the Opposer manifests. This Design is both macrocosmic and microcosmic, mirroring the spiritual process of initiation that occurs within the individual as they move through the crooked paths of their own psyche. In this way, Qtub is as much about personal transformation as it is about cosmic forces, revealing the ways in which the Adept mirrors the greater patterns of the universe.
  
  The commentary section provides some clarity to the abstract nature of the verses, offering insights into the talismanic designs and symbolic frameworks that shape the book. However, Chumbley never over-explains—there is still an emphasis on personal gnosis and discovery. His aim is not to hand the reader a map, but to place them at the threshold of initiation, leaving them to find their way through the rites, symbols, and experiences that Qtub evokes.
  
  Perhaps one of the most striking sections is the Rite of the Opposer, which Chumbley presents as the gateway through which the reader can enter the Crooked Path. This ritual passage draws the practitioner’s focus toward the body as a vessel for both spiritual and magical experience, echoing Chumbley’s broader teachings about the integration of flesh and spirit in the practice of Sabbatic Witchcraft.
  
  Qtub is not a book to be read once and set aside. It is a living text, one that invites continual engagement and contemplation. For those immersed in the Sabbatic Tradition, or for seekers drawn to the deeper, initiatic aspects of magic, Qtub is an essential work. Chumbley’s ability to weave together history, symbolism, and spiritual experience into a single, cohesive narrative is nothing short of masterful. This book is not just an exploration of the Opposer—it is an initiation into the very current it describes.
• 
  Blueone

  Complex and beautiful mystical poetry. It helps to be acquainted with Chumbley's version of the Arte.