Necronomicon - Anunnaki Bible (Joshua Free, 2010)

This is the Book of Crossings, of the Descent of INANNA-ISHTAR-ISIS into the “Underworld” and of the Crossings of the Dead, which the Priests of Ani/Annu have called the “Opening of the Mouth.” The necromantic mysteries are first and foremost concerned with the nature of an “afterlife” and particularly the location and nature of that “realm.” While grievous death-cults to the “Goddess of Death” certainly emerged, the religious concept of an Egypto-Mesopotamian afterlife developed among the people in both the later Mardukite tradition (in post-Sumerian Mesopotamia) and the Osirian-ISIS cult (in postdeluvian Egypt). These mysteries emphasized AMON-RA and then ATEN, both of which have been attributed to MARDUK.

Political and religious disputes among the ANUNNAKI “gods on Earth” in ancient times led to the evolution of diverse cultural perspectives and geographies but all of which adopted the same pantheon in different guises. The roles of supremacy also seem to change through the “ages.” Those that we find in later Babylonian and Egyptian traditions preserved today are, in fact, significant alterations of the “original” beliefs of the people during the most Ancient of Days. For example, MARDUK and INANNA-ISHTAR are among the youngest members of the Elder Gods and yet we find them ranked supreme, essentially due to their victories by force. While the modern magickal community might be quick to view the INANNA-ISHTAR-ISIS current in the Supreme “Mother Goddess” category, such was never the original intention or beliefs of the system, and this later central icon of “Goddess of Love and War” (passions) developed directly as a result of her use of these traits in her own cunning ascent up the hierarchical ladder.

The role and position of MARDUK changes during the pre-Babylonian age, when he leaves Enlilite territories and launches the legacy and religion of Egypt, proclaiming himself RA, beneath the “Father God” and Chief ANUNNAKI Scientist (and geneticist) PTAH/ ENKI. The role of ANU is not dissolved, though the spelling is changed slightly to “Annu” (which is app-lied, similar to other deity names, to locations, persons and gods).

With the evolution of MARDUK/RA’s “Star Religion,” the emphasis is adjus-ted to “ATEN,” commonly identified with the “Winged Disc.” The central icon to both INANNA-ISHTAR-ISIS (also known as “Astarte” and “Ashtoreth”) and MARDUK’s “magick.” The magickal tradition first was executed in ceremonial form by ENKI (then passed to MARDUK and became the possession of NABU). The “ankh” or “Isis knot” is based on the icon of a winged-serpent (dragon) or coiled-serpent (DNA) around a cross (“Tau”). Not only do these images and symbols denote life in this world, but also the after life and even “death” or the point of “crossing in the between.”

Necromantic Underworld traditions not only serve functional roles for the psycho-logical and ceremonial initiation of the self, or that is to say the metaphoric or spiritual “death” of the old self or programmed self, but also to serve a very real religious need for the psyche: the nature of life after death. The Descent of INANNA and even other famous “Egyptian” and “Tibetan” versions of the Book of the Dead are too often examined out of the context they were originally intended for. First and foremost, the dead don’t read. The Books of the Dead are not guides for the “dead” but are instead manuals for the “dying,” which is to say the “living.”

Also, none of the famous works are really books of the “dead,” and this morbid imaginative fascination is more stereotype than fact. They are in fact Books of Crossing, transition, journey, initiation and advisement on the nature of reality and the dimensions. For example: the INANNA text can also be interpreted as a travel from north to south Africa, the Tibetan book as a meditation guide for “natural liberation” and the Egyptian Book of the Dead is literally “REU NU PERT EM HRU” (which means “Chapters Concerning the Day of Crossing”) as a funerary ceremonial text, meant to be read by a living priest, called the “Kher Heb.”

The theme of the INANNA/ISHTAR epic (and that of Isis for that matter) all concerns the lower world, which some interpret as a kind of “otherworld of the dead” or “underworld,” while others (like Sitchin) contend that the ancient references to upper and lower realms indicate “north” and “south,” with “heaven” and “earth” likewise indicating “sky” and “land” respectively. The tale evolves with the cultures and powers adopting it. In an ancient version, INANNA is seeking retribution for the death of her lover, translated as TAMMUZ. Other versions echo the same, but the names get changed to “ISHTAR” (or “ISTAR”) and “DAMUZI.” More dramatic changes occur when the epic enters the Osirian cycle of resurrection and this is where the academic pursuits so long after-the-fact begin to break down and why many scholars have overlooked the Egyptian-Babylonian (and Sumerian) connection in the past.

The true functional purpose of ISHTAR’s descent into the “nether” is usually open to interpretation. MARDUK and ISHTAR were actually half-siblings, and with MARDUK born of ENKI and ISHTAR essentially being a descendant of the Enlilite line, the union of the two in marriage was intended to unite the warring clans of ANUNNAKI. Such never actually occurred however, and once power was passed to the “younger” of the Elder Gods (e.g. MARDUK, ISHTAR, THOTH/ HERMES, etc.) they continued to fight to establish supremacy and rule on Earth. Some versions of the epic describe INANNA/ISHTAR seeking to free the “soul” or rather resurrect the “spirit” of her lover by making demands of the Queen of the Underworld, ERESHKIGAL, who just happens to also be ISHTAR’s sister, and the two of them are also rivals. The shortened version found in the popular Simon edition of the NECRONOMICON alludes to a different motive altogether, with INANNA open gates in the “nether” to unleash powerful “demons” as retribution for the death of her lover. In either instance, the tablets of this Otherworldly journey describe perhaps some of the oldest authentic “necromantic” lore available to seekers.

As a primary “Goddess,” the role and function of ISHTAR/ISIS in the Egyptian and Mesopotamian pantheons was a relatively late addition in comparison, as can be seen with the others among the “younger.” [As will be explored in companion works, a more appropriate Chief Goddess in this tradition would be MARDUK's consort, SARPANIT.] One version records MARDUK being an instigator in DAMUZI’s death which further fuels a hatred between the siblings and results with the imprisonment of MARDUK in the Great Pyramid, forcing an absence from both Babylon and Egypt during his very age to rule. Meanwhile, In Enlilite territory, ENLIL maintained his position as Jehovah. In those places ENKI becomes a “Satan” figure with his lineage of “serpents” and “dragons” and all other ANUNNAKI become “fallen angels” subordinate and unparalleled to the “God” Jehovah (ENLIL).

An interesting feature of the INANNA-ISHTAR cycle is the appearance of the “seven-gate” system. Most scholars do not believe this is the same as the traditional seven Star Gates of the ANUNNAKI and is instead a part of a mirrored alter-system. This actually makes perfect sense given that the Semitic Kabbalah has its roots among these Mesopotamian traditions and is also a system of “zonei-stations.”