The Dandelion Occult Book is a fascinating and enigmatic text that has been the subject of much speculation and interest among occultists and enthusiasts. This book is believed to hold ancient and esoteric knowledge, offering insights into the realms of magic, divination, and spiritual practices. The origins of the Dandelion Occult Book are shrouded in mystery. Some believe it was written by an unknown sage or occultist throughout the ages, while others ascribe its creation to a secret society or a group of enlightened individuals. Regardless of its genesis, the book has gained a reputation for its profound knowledge and its ability to unlock hidden truths. What sets the Dandelion Occult Book apart from other occult texts is its incorporation of dandelion symbolism and imagery throughout its pages.
Book Description Hardback or Cased Book. Condition: New. Tatsukawa, Maya (illustrator). Dandelion Magic. Book. Seller Inventory # BBS-9780593112908
By avoiding frequent mowing, dandelions and other wildflowers such as daisies, selfheal, lesser celandine, cowslip, and bird s-foot-trefoil have a chance to grow and flower, providing nectar and pollen for pollinators. Most are based on historical antecedents, and I performed enough calculations and experiments to be comfortable that they should function, give or take an order of magnitude in the forces involved close enough for fantasy engineering.
What sets the Dandelion Occult Book apart from other occult texts is its incorporation of dandelion symbolism and imagery throughout its pages. The dandelion, with its bright yellow flowers and delicate, dispersing seeds, has long been associated with wishes, transformation, and the potential for personal growth. The book uses these elements to guide readers on a journey of self-discovery and spiritual awakening.
Guest Post: An Introduction to The Dandelion Dynasty by Ken Liu
This series took up the bulk of my time and creative energy over a ten-year period. I learned a lot about myself as a writer, as a father, as a husband, as a grandchild, as a technologist, as a lawyer, and as a person. I can’t wait to take you and other readers from the opening lines of this book all the way to the final period after the last sentence in Speaking Bones.
A quick preliminary note: I invented the term ‘silkpunk’ specifically to describe the aesthetic in the Dandelion Dynasty series. (Other authors have used my term to describe their own books, and I won’t be talking about their uses. My only concern here is my definition, for my aesthetic.)
Silkpunk involves a technology vocabulary that uses bamboo, silk, paper, animal sinew, ceramics, feathers, materials of great historical importance to China and other East Asian cultures, as well as a technology grammar that emphasizes biomimicry, wind/water power, wooden architecture, balance with the local environment, an integrated view of the artificial and the natural – concepts central to East Asian traditions of engineering. It is, in the simplest terms, an alternative technology evolutionary tree based on East Asian historical antecedents and philosophies.
As a technologist, I had a lot of fun coming with up the silkpunk technology in these books: the submarines, airships, battle-kites, wax logograms, city-ships, electrostatic automata, etc. Most are based on historical antecedents, and I performed enough calculations and experiments to be comfortable that they should function, give or take an order of magnitude in the forces involved — close enough for fantasy engineering!
But silkpunk is not ‘Asian steampunk’. It is not ‘Asian fantasy’.
The ‘punk’ part is not a worn suffix devoid of content. To me, silkpunk is a new mythology of the experience of modernity because it is centered around a key punk project: re-purposing what was for what will be. These books are my rewriting of the narrative of modernity (and in the later books in particular, the modern American national narrative).
The Grace of Kings is the first step in this process of remythologizing modernity: a new understanding of the pre-modern order (the ‘what was’) The Wall of Storms and the later books tear that understanding down and rebuild it into something at once familiar and different: an alternative understanding of the meaning of the modern (the ‘what will be’).
But that begs a question: if The Wall of Storms, the second book, seems to be the start to the series proper (the construction of modernity), why did I write a whole book — TGOK — that only serves as a ‘prelude’?
Because a good house requires a good foundation. A driving impetus behind this series is my desire to challenge and interrogate the conventional narrative of modernity, which is often modeled on a particular telling of the story of my country, the US of A. The Story of America is most often told using allusions to ‘Western’ models (just think of how many aspects of American politics and national culture evoke images of America as a ‘New Rome’ and how easily we read Thucydides into every modern conflict involving America, with America starring as the ‘New Athens’). However, when you are constrained to one set of allusions, you’re limited in how you can push readers to see something new in a familiar tale or, even bolder, to change the narrative entirely.
Something radical had to be done. I decided to depart from the ‘New Rome’ or ‘New Athens’ model and instead evoke East Asian models in this fantasy epic recasting of the Story of America — and by extension, the narrative of modernity. Thus, I borrowed much of the plot of The Grace of Kings from the Chu-Han Contention, as interpreted by the historian Sima Qian, and built up a vocabulary of non-Western political allusions and precedents that could then be drawn on in the re-imagining of the epic of modernity.
This foundation is what allows the construction of an alternate vision of modernity, an imaginative edifice whose outlines would not come into focus until the later books, when the story moves away from reimagined history into pure invention. This is a vision of modernity no longer exclusively centered on what we think of as the ‘Western’ experience. Rather, it melds multiple traditions and myths important to me, from the Iliad to Beowulf, from Paradise Lost to wuxia, and transforms the Chu-Han Contention into the foundational political mythology of a brand-new, modern people.
The Wall of Storms is where all that effort begins to pay off. With most of the groundwork out of the way, I can get to the meat of this story about the creation of the constitution for a new people (a constitution, in my view, is not a document, but a set of stories that forms the core of a people’s self-perception, self-regard, and deepest values). The plot here no longer has a clear, specific historic analog. (Thus, identifying the people of Dara as ‘fantasy Chinese’ or the Lyucu as ‘fantasy Mongols’ or any people in these books as ‘fantasy [fill in the blank group]’ would be very much misguided.) Rather, the central concern of The Wall of Storms and its two sequels is a series of questions: How can a new nation built from a collection of diverse peoples compose a new constitution, agree on a new source of political legitimacy, rally around a new foundational mythology? How do we carry out a political experiment to build a more just society without creating more injustice? What weight should be given to the wisdom of tradition by revolutionaries? Is it a curse or a blessing that a new generation must contend with the weight of history they are born into and live with the decisions made by their forebears? Is a ‘perpetual revolution’ desirable or even possible…?
If those themes of the Dandelion Dynasty seem to draw on my experience as a lawyer, then the next set of themes are based on my life as a technologist. The Dandelion Dynasty is also a series about science and discovery. It’s epic fantasy with a heavy dose of scifi — I mean, Luan Zya literally proclaims, ‘the universe is knowable,’ a manifesto of the scientific view of the cosmos. I had some of my best writing moments in the discovery of the silkmotic force and the invention of the machines derived from its power. Many of the discoveries and inventions in this book are drawn from antecedents in China’s classical past; some are based on the work of ancient Greeks; some are modeled on the experiments of Ben Franklin; and still others are simply cut by me out of whole cloth. Being a technologist by trade, I love writing about discovery and innovation—and I’m pretty sure my readers enjoy reading about them too.
Before we go too far down these philosophical routes, however, I should note that it would be just as accurate to say that the Dandelion Dynasty is about young people flirting and partying and being silly and awesome garinafin-vs-airship set pieces and devious battle tactics — derived from history, to be sure, but also from the author’s experience in playing video games and watching football — and legalistic dirty tricks and deconstructionist mis-readings and fantastic engines constructed from silk and bamboo and giant capacitors humming with the power of lightning… I mean, sure, themes are important, but books always need fun.
I wrote the series because I had things I wanted to say and I wanted to have fun. Those are the only two good reasons to write a novel as far as I’m concerned.
The Grace of Kings, The Wall of Storms and The Veiled Throne are available now. Speaking Bones will be published in June 2022.
Readers can view Ken Liu’s commentary on The Grace of Kings and The Wall of Storms on Goodreads.
About the Author
Ken Liu (http://kenliu.name) is an American author of speculative fiction. He has won the Nebula, Hugo, and World Fantasy awards, as well as top genre honors in Japan, Spain, and France, among other countries.
Liu’s debut novel, The Grace of Kings, is the first volume in a silkpunk epic fantasy series, the Dandelion Dynasty, in which engineers play the role of wizards. His debut collection, The Paper Menagerie and Other Stories, has been published in more than a dozen languages. A second collection, The Hidden Girl and Other Stories, followed. He also wrote the Star Wars novel The Legends of Luke Skywalker.
He has been involved in multiple media adaptations of his work. A few recent projects include “The Hidden Girl,” under development by FilmNation Entertainment as a TV series; “The Message,” under development by 21 Laps and FilmNation Entertainment; “Good Hunting,” adapted as an episode in season one of Netflix’s breakout adult animated series Love, Death + Robots; and AMC’s Pantheon, with Craig Silverstein as executive producer, adapted from an interconnected series of short stories by Liu.
Prior to becoming a full-time writer, Liu worked as a software engineer, corporate lawyer, and litigation consultant. He frequently speaks at conferences and universities on a variety of topics, including futurism, cryptocurrency, history of technology, bookmaking, narrative futures, and the mathematics of origami.
Liu is also the translator for Liu Cixin’s The Three-Body Problem, Hao Jingfang’s “Folding Beijing” and Vagabonds, Chen Qiufan’s Waste Tide, as well as the editor of Invisible Planets and Broken Stars, anthologies of contemporary Chinese science fiction.
Liu lives with his family near Boston, Massachusetts.
About David W
Believer, Hubby, Girl Dad. Owner/CEO of FanFiAddict. Works a not so flashy day job in central Alabama. Furthest thing from a redneck and doesn’t say Roll Tide. Enjoys fantasy, science fiction, horror and thrillers but not much else (especially kissy kissy).
Before we go too far down these philosophical routes, however, I should note that it would be just as accurate to say that the Dandelion Dynasty is about young people flirting and partying and being silly and awesome garinafin-vs-airship set pieces and devious battle tactics — derived from history, to be sure, but also from the author’s experience in playing video games and watching football — and legalistic dirty tricks and deconstructionist mis-readings and fantastic engines constructed from silk and bamboo and giant capacitors humming with the power of lightning… I mean, sure, themes are important, but books always need fun.
Within the pages of the Dandelion Occult Book, one can find rituals, spells, and techniques for various occult practices. These include divination methods such as tarot and astrology, as well as instructions for performing ceremonies and invocations to connect with higher realms and spirits. The book also contains meditative practices and visualizations to enhance one's psychic abilities and access deeper dimensions of consciousness. While the Dandelion Occult Book may appear cryptic and intricate upon first glance, many who have delved into its teachings have reported profound experiences and personal transformation. The book prompts readers to question their beliefs, cultivate their intuition, and explore the hidden aspects of themselves and the universe. It is worth noting that the Dandelion Occult Book is not widely available, and copies are considered to be rare and highly sought-after. Some speculate that certain organizations or individuals keep these copies guarded and inaccessible to the general public, adding to the mystique surrounding the book. In conclusion, the Dandelion Occult Book is a captivating and enigmatic text that offers seekers of esoteric knowledge a glimpse into the realms of magic and spirituality. Its dandelion symbolism, powerful rituals, and profound teachings make it a cherished treasure among those interested in the occult and the mysteries of the universe..
Reviews for "Dandelion Tarot: Unveiling the Mysteries of the Weed Oracle"
1. Jane - ⭐️
I was really disappointed with the "Dandelion Occult Book". The content lacked depth and was repetitive. The author seemed more focused on creating a mysterious atmosphere than providing any meaningful information. I was expecting a comprehensive guide to occult practices, but instead, I found myself struggling to even understand the basic concepts mentioned. Overall, I would not recommend this book to anyone looking for a serious and informative text on the occult.
2. Mark - ⭐️⭐️
I found the "Dandelion Occult Book" to be confusing and poorly organized. The information was scattered and often contradictory. It felt as if the author was making things up as they went along. The lack of citations or references made it difficult to trust the information presented. Additionally, the writing style was overly flowery and pretentious, making it hard to grasp the underlying concepts. I would not recommend this book to anyone seeking a reliable and coherent exploration of the occult.
3. Sarah - ⭐️⭐️⭐️
While the "Dandelion Occult Book" had some interesting ideas, the execution fell short. The author attempted to delve into complex topics without providing enough context or explanation. As a result, many of the ideas presented were confusing and left me with more questions than answers. The book lacked a clear structure, making it difficult to follow the author's train of thought. Overall, I was disappointed with the lack of depth and clarity in this book.
4. Michael - ⭐️⭐️⭐️⭐️
As someone who has studied the occult for many years, I found the "Dandelion Occult Book" to be lacking in substance. The information provided was basic and could be easily found in other introductory texts. The author didn't offer any unique insights or perspectives, making this book feel like a rehash of existing material. While it may be useful for absolute beginners, anyone with a decent understanding of the occult will find this book uninteresting and redundant.