Dans Le diabolisme en France, l'écrivain anglais Arthur Edward Waite (1857 - 1942), traite de la question de Lucifer et rapporte ce qu'on a vu et entendu dans les sociétés secrètes selon les témoignages des initiés.

Arthur Edward Waite was a British poet and scholarly mystic who wrote extensively on occult and esoteric matters, and was the co-creator of the Rider-Waite tarot deck (also called the Rider-Waite-Smith or Waite-Smith deck). As his biographer R. A. Gilbert described him, "Waite's name has survived because he was the first to attempt a systematic study of the history of Western occultism-viewed as a spiritual tradition rather than as aspects of protoscience or as the pathology of religion." He spent most of his life in or near London, connected to various publishing houses and editing a magazine, The Unknown World. He wrote texts on subjects including divination, esotericism, freemasonry, and ceremonial magic, Kabbalism and alchemy; he also translated and reissued several mystical works. He wrote about the Holy Grail, influenced by his friendship with Arthur Machen. A number of his volumes remain in print, including The Book of Ceremonial Magic (1911), The Holy Kabbalah (1929), A New Encyclopedia of Freemasonry (1921), and his edited translation of Eliphas Levi's 1896 Transcendental Magic, its Doctrine and Ritual (1910), having been reprinted in recent years. Waite also wrote two allegorical fantasy novels, Prince Starbeam (1889) and The Quest of the Golden Stairs (1893), and edited Elfin Music, an anthology of poetry based on English fairy folklore. Contents: The Book of Ceremonial Magic The Occult Sciences The Pictorial Key To The Tarot The Real History Of The Rosicrucians Transcendental Magic

Mortal Arguments is Sue Sinclair's second poetry collection. In it, she continues her extraordinary phenomenological investigation of lived experience, addressing with increasing urgency issues of profound philosophical and political importance such as consumerism, privilege, and our ability to respond to the suffering of others. Her voice combines great metaphorical brilliance with the depth one expects of a much older writer. Her poems will remind readers by turns of Rilke and Heine: urgent, sorrowing, ecstatic. This is an important book by one of Canada's finest young poets. Roses Not because it is sufficient, but because we subsist on light, and what doesn't cry out to be noticed? There's something here you might recognize, but you're not sure; still, you're willing to risk it: the loss of everything, seen and unseen, the before and the after. It doesn't depend on you but you move toward it. Because as long as there's a moment here or there, why not arrange a few roses in a jar, give thought to their listlessness, how they gather the room about them yet think nothing of it, how each thorn persists, how they have made a purpose of holding still? Then you remember the necessary and sufficient. This isn't it, but you don't know where else to begin.