Mercury Markers, History and Theory

In my last post I went over the story of my read-through of Ink Black Heart. I focused on my claim that each of the Strike books has had its primary villain secretly indicated by a hidden reference to various Hermes-related figures, what may alliteratively be called “Mercury Markers”. This, aside from its predictive value, seems to be, on the face of it, a very strange thing to expect an author to do. I wish to make the claim that a move of this type is common for any author like Rowling who writes within Hermetic or Alchemical traditions. The central motif of the Hermetic tradition is this: a hidden word or sign, that will make itself readily apparent only to the “initiated” who have been informed to expect the word or sign, brightly highlights a Deeply Important Something that is going on “behind the scenes.” Below, I plan to track the main places I see similar effects being used and provide a more detailed account of where I see this being used in the Strike novels.

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Ink Black Heart: Does Rowling Tip Her Hand About the Killer with a Hermes Reference and ‘Prince’ Parallels?

Evan Willis is a HogwartsProfessor faculty member with a special expertise in Rowling’s hermetic artistry. He was in communication with me throughout his first-reading of Ink Black Heart so I can testify that the journey he describes below is not something he made up after the fact. His long-awaited write-up of his thoughts on Strike6 exceeds even my very high expectations and it establishes I think his theory that Mercury markers are keys to Identifying Rowling murder mystery killers; enjoy! — John

Hours after it came out, I started on Ink Black Heart. I wanted to read it slowly so that I had adequate opportunity to test, theorize, and predict, and so only got to the end of it early this week. I sent off a couple comments and e-mails as I read indicating where my line of reasoning had gone so that I might document my testing, while trying my best to avoid spoilers (this site, along with Twitter, became very dangerous to go anywhere near).

My conclusions? That our parallel series idea still has deep predictive and explanatory power (Half-Blood Prince parallels are extraordinarily strong here), that the important Half-Blood Prince references are where it connected back to Philosopher’s Stone (pointing to a 1-6 connectivity in both series), and that Rowling has subtly indicated the identity of the killer in each of these novels very early on by inclusion of a passing reference to a mythological character with direct ties to the figure of Hermes in the near vicinity of their first appearance.

Join me after the jump for discussion of how I arrived at all three of these conclusions — and how I just missed identifying the killer before Strike and Robin did.

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“For the Straightforward Path Was Lost”: A Few Starting Notes on The Christmas Pig

To get discussion started on The Christmas Pig, I thought I would post some thoughts, aligned with a few of our keys to interpretation, that I was left with after my first read through. Or, rather, first listen through. The audiobook proved really quite wonderful, with excellent cast and sound design. On any of these points below, consequently, much more can be said. These points are also not in any particular order as they are something of a collection of first impressions. The discussion below will not be spoiler free.
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Elizabeth(s) the Phoenix

The centrality of Elizabethan imagery in Troubled Blood is hard to miss. The  Faerie Queene epigraphs and structuring, already well documented on this site, show the basis of the connection. That this work is meant to parallel Order of the Phoenix is also well documented. I want to suggest that Rowling has clarified much of the meaning of Order of the Phoenix using this imagery, which in turn continues and strengthens a long-running undercurrent in Rowling’s writing: a extensive set of references to 15th through 17th century English ecclesiastical, political, and philosophical history (earlier work directly touching this set of associations in Rowling’s work can be found in this 2009 post).

My core thought here is this: it is not just the one Elizabeth, Elizabeth I, who we are meant to consider. Instead, I think we are meant to focus on the societal and literary impact of four closely intertwined Elizabeths and their associations with the development of English Christianity and esotericism in its many forms. These four are Elizabeth of York, Elizabeth I, Elizabeth Stuart, and Princess Elisabeth of Bohemia.

I’ll grant that this is a fairly large claim, and I may be hunting Crumple Horned Snorkacks (if I am, please let me know), but I think there is this strong thread here worth tracing.
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Puns, Prophecy, and Pizza

On Puns, Considered in Shakespeare According to Hermetic Principles

“Ask for me tomorrow and you shall find me a grave man,” a line from Shakespeare’s Romeo and Juliet, is, in my opinion, the epitome of everything a good pun should be (and yes, there is such a thing as a good pun).  And in the spirit of good analysis and not-so-great humor, I will now explain precisely how this joke works and why.

The context is important here. The speaker, Mercutio, lies dying, having been mortally wounded by Tybalt. Mercutio is precisely the sort of character who takes very little seriously. Here, even as he is about to die, he makes a pun. Whatever he is, he is not “grave” in the sense of being serious. However, he is about to die and thus will find himself in a “grave”, namely the place where one buries dead bodies. That said, the only time he could ever be “grave” (sense 1) is if he is in a grave (sense 2). Thus the full sense of “you shall find me a grave man” is “you’ll take away my sense of humor over my dead body, which it presently will be”, which we may label “grave” (sense 3).

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