Against Magical Thinking: Contemplation, Conspiracy, and the Abuse of Sacred Language


Early manuscript
Photo by silvia lusetti on Pexels.com

Recently, I read with great interest Hari Kunzru’s article “Doing Their Own Research” in the New York Review of Books (May 29, 2025). It is a piercing, sometimes surreal examination of the strange coalition now shaping American political and spiritual culture: a “New Weird Fusionism” of right-wing conspiracy, countercultural wellness, and mystical absolutism. The portrait he offers—of a society increasingly shaped by magical thinking, selective paranoia, and a weaponized imagination—was as disturbing as it was insightful.

But what struck me most was the realization that the cultural atmosphere Kunzru describes makes it increasingly likely that contemplative works like my recent Liber Agglutivi will be not merely misread—but conscripted into the very worldview they seek to resist.

In that work, framed as a fictional medieval treatise on sacred language, I explore how language, when approached with reverence and silence, becomes not a tool of communication but a site of presence—how it may not only speak about reality, but participate in it. Yet as I read Kunzru’s analysis of conspirituality—the synthesis of conspiracy and New Age belief—I saw an eerie proximity between certain rhetorical structures in Liber Agglutivi and the thought patterns of this cultural formation: secrecy, marginalia, hidden knowledge, the recovery of “true” language lost to corruption.

The danger is real: in an age where every form of mystery gets weaponized, how do we distinguish between authentic contemplative practice and its paranoid simulacra?

It is precisely here that the contrast must be made explicit.

The Liber is not a manual for decoding reality through esoteric symbols or a codebook for revealing global plots. It is not a mystical justification for control, nor an invitation to gnostic certainty. Its words are not “keys” to hidden truths in the paranoid sense Kunzru describes. Rather, it is a contemplative experiment—a poetic, philosophical invitation to see language as something we enter with humility, not something we wield with certainty.

What conspirituality offers is often a form of linguistic inflation: a conviction that to name something is to master it, that to imagine is to manifest, that hidden truths are personal weapons in a war against “them.” This is not reverence for mystery but inflation through proximity to it. The practitioner of conspirituality approaches mystery as a puzzle to be solved, a code to be cracked that will grant power over reality itself.

By contrast, the Liber offers a theology of kenosis—a self-emptying approach to speech in which the word is not a sword, but a veil; not a control mechanism, but a site of transfigured listening. Where conspirituality seeks to decode, contemplation seeks to be changed by what it encounters.

Consider the difference in practice. A conspirituality adherent might read the Liber’s phrase about “memory that knows not what it remembers” as a hint toward recovering suppressed historical truths or accessing forbidden knowledge that “they” do not want you to have.

A contemplative reader approaches the same phrase as an invitation to sit with unknowing itself—to let the mystery remain mysterious while allowing it to transform one’s relationship to knowledge. The first approach inflates the ego; the second empties it.

Kunzru’s analysis is especially compelling in its treatment of magical thinking across the domains of politics, religion, and economics. It is alarming to witness the persistence of the nineteenth-century “mind-cure” tradition—the belief that reality is downstream of personal attitude—now manifesting as national governance logic.

That Donald Trump, among others, internalized Norman Vincent Peale’s message of mental affirmation to the point that factuality became irrelevant is not merely a character trait—it is a symptom of an epistemological crisis. Similarly, the self-help gospel of The Secret, evangelical prosperity teachings, and the memetic evangelism of internet conspiracists all illustrate a culture in which to believe is to make it so.

The boundary between wish and world is not merely blurred—it is denied.

The Liber Agglutivi, by contrast, insists that language’s creative power arises not from assertive will but from contemplative reception. The phrase “word that becomes the thing” does not mean that the self wills reality into being. It means that, in sacred silence, the word discloses what is already most true.

This is a fundamentally different ontology. It is not manifestation; it is reverent participation.

Kunzru rightly notes how easily mystical language can be conscripted by paranoid styles. The idea that “everything is connected,” which in contemplative practice leads to compassion and humility, in conspiracy often leads to reductionism and scapegoating.

The Liber speaks of memory that “knows not what it remembers”—a phrase meant to evoke mystery and presence, not cognitive shortcuts to hidden truths.

So while Kunzru’s essay is not a critique of my work, it felt like a necessary caution about the times in which such a work might be read. In an age of epistemic confusion and symbolic inflation, sacred language must be handled with even greater care.

We must distinguish between language as control and language as communion; between the voice that silences others and the voice that emerges from deep silence. We must recognize that in our current moment, the very practices that might lead us toward wisdom—attention to mystery, reverence for hidden dimensions of experience, suspicion of surface explanations—can be corrupted into tools of manipulation and division.

The Liber Agglutivi may look like a book of secrets, but it is really a book about unknowing—about hearing the spaces where speech begins. And in a world where every utterance is increasingly co-opted for political or psychological leverage, the commitment to silence, reverence, and the mystery of meaning may itself be the most radical stance available to us.

Words that reign do so only when they have ceased to serve the self.
In our age of weaponized mysticism, that may be the difference between wisdom and delusion, between contemplation and conspiracy.

The Lingering Fire: Language Before, Within, and Beyond Speech

A Reflection Interwoven with Ante Verba, Verba, and Postverbum


Cy Twombly (1928-2011), Untitled
2005, acrylic on canvas
Cy Twombly (1928-2011), Untitled
2005, acrylic on canvas, 128 x 194½ in
“His madness is a circle of fire, an unbroken circuit of excess, each attempt at containment spilling into the next”—Art historian Malcolm Bull on the Bacchus paintings.

The three poems, CARMINA TRIA: DE VOCE AGGLUTIVA, which follow—Ante Verba, Verba, and Postverbum—did not emerge by design. They followed Liber Agglutivi as if by necessity. Once the treatise had been written, these poems had to be. They are not commentaries on the Liber, nor are they didactic restatements of its metaphysical claims. Rather, they are its echo—its ember. They are the hymns sung at the threshold that Liber Agglutivi only describes.

Even readers unfamiliar with the medieval-inspired treatise can enter these poems directly. They function as meditations on how language lives in us before we speak it, while we speak it, and after our words have fallen silent. Readers of the Liber will recognize these concerns, but the poems make them immediate and felt rather than theoretical.

They move through language as tremor, fire, and resonance. The sequence below mirrors the deeper structure of the Liber: from the agglutum primitivum (pre-verbal memory), to the verbum intransitivum (word as creation), to the postverbum and glosselitha (residual presence).


CARMINA TRIA: DE VOCE AGGLUTIVA


I. Ante Verba

Language as Tremor, Silence as Light

Ante Verba
(Versus ad limen vocis)

Verbum non dicitur, sed fit.
Non transit, sed regnat.
Nomen quod loquitur se ipsum
non oritur ex ore, sed ex ossibus.
Lingua non fert sensum,
sed tremorem.
Memoria quae nescit quid meminerit
audit quod non sonat.
Tacere est tangere lumen.
Loqui est amittere formam,
ut recipiatur flamma.

Before Words
(Verses at the threshold of voice)

The word is not spoken, but becomes.
It does not pass through, but reigns.
The name that speaks itself
arises not from the mouth, but from the bones.
Language carries not meaning,
but tremor.
Memory that knows not what it remembers
hears what does not sound.
To be silent is to touch light.
To speak is to lose form,
so that the flame may be received.

This poem inhabits the space where language has not yet been spoken but is already forming. It suggests that words do not begin with speech—they begin with the body, with memory, with a force older than conscious thought. In the Liber, this is called the agglutum primitivum—the murmur that speaks itself rather than being spoken.

The line “non oritur ex ore, sed ex ossibus” (“arises not from the mouth, but from the bones”) aligns with Martin Heidegger’s vision in Letter on Humanism, where language is not a tool but the “house of Being.” Maurice Blanchot, in The Writing of the Disaster, understands silence not as negation but as a paradoxical mode of presence—a vision we carry forward in our own line from Ante Verba: “Tacere est tangere lumen.”

The poem resists the tendency to think of silence as a void. It suggests instead that silence is already full—that the word is merely what breaks the threshold.


II. Verba

Language Does Not Carry Meaning—It Generates It

Verba
Non instrumenta, sed ignes.
Non indicia, sed invocationes.
Ex spiritu fiunt formae.
Ex sono fit lumen.
Verbum non portat sensum;
generat.
Non sequitur lucem;
effundit eam.
Obliti sumus verba sentire—
at illa nos sentiunt.

Words
Not instruments, but fires.
Not signs, but invocations.
From spirit, forms arise.
From sound, light is made.
The word does not carry meaning;
it generates it.
It does not follow light;
it pours it forth.
We have forgotten how to feel words—
but they feel us.

Verba shifts from anticipation to ignition. Here, the word becomes flame. It does not describe; it creates. This is the essence of the verbum intransitivum found in the Liber—a word that does not pass meaning from subject to object, but emits meaning by its very being.

This echoes Jacques Derrida’s insight in Of Grammatology: that language does not simply transmit ideas—it generates meaning anew with every utterance. Jean-Paul Sartre in What is Literature? treats language as an existential act, not a report, and this vision is mirrored in the line “Verbum non portat sensum; generat.”

The agglutivum, as the Liber defines it, is precisely this: a word that binds meaning not through grammar, but through presence. The poem closes with a reversal: it is not we who perceive words, but words that perceive us.


III. Postverbum

The Spectral Afterlife of Language

Postverbum
Verbum abit, sed tremor manet.
Non vox, sed vestigium vocis.
Non lumen, sed fulgor in ruina.
Post verbum non est silentium,
sed memoria quae loqui recusat.
Forma cecidit—
resonantia viget.
Non est oblivio,
nec repetitio.
Est remanentia
sine nomine.
Quod dictum est, abit.
Quod vivit, remanet.

After-Word
The word departs, but the tremor remains.
Not voice, but the trace of voice.
Not light, but gleam within ruin.
After the word there is not silence,
but memory that refuses to speak.
Form has fallen—
resonance thrives.
It is not forgetting,
nor repetition.
It is remainder
without name.
What has been spoken departs.
What lives remains.

What remains when the word falls away? Postverbum addresses the residue of speech, its spectral persistence. The Liber speaks of the glosselitha—words no longer active but still resonant. This poem inhabits that after-space: where meaning is not present, yet not gone.

Derrida’s trace (especially in Writing and Difference) hovers here: a remnant of presence that cannot be fully recovered, nor fully lost. Nietzsche, in The Gay Science, evokes this through the fragment—the broken form more alive than the whole. And Bachelard’s “intimate immensity,” in The Poetics of Space, seems apt: the vast echo of what once was word.

This is not nostalgia. It is presence beyond sound.


Coda: Language as Tremor, Fire, Trace

The poems above are not marginal to Liber Agglutivi—they are its liturgy. They enact what the treatise evokes: a philosophy of speech where the word is not a vessel but a lifeform.

If the Liber speaks of agglutive words—words that bind not by syntax but by resonance—then these poems are agglutive acts. They offer no argument. They offer invocation.

Together, they invite us to listen differently—not just to what we say, but to what speaks through us when we are most quiet, most present, most alive to the mystery of having language at all.

We do not merely speak.
We are spoken.