This particular draft has been inspired by my recent attempts at writing out a dream journal, which has taught me that when I can see something clearly in my mind's eye, get it down quickly before it's forever forgotten, no matter how strange or fleeting it is. The second principle I'm attempting to follow is a rule ofwrite no matter how bad it isas I can never try to improve something I never wrote down in the first place.
Before this tome the silence is deafeaning,
none discern what echoes roar,
but we can hear its endless screaming,
from behind the locked door.
The very first writing I'd like to begin with is a letter to myself in the future, who, if all goes as expected, will know what to do with this writing better than I do. The very first thing we need to try to do is work out the mess of a Table of Contents you've gotten yourself into. You had a good idea in Liber Certaminis where you actually tried to sit down and explain every one of your half baked ideas for which essays you wanted to flesh out the main bulk of the book with. We're going to sit here and continue down that path.
Your main idea to split Liber 909 into three large sections each with three sections of their own isn't terrible, but all you did was leave a title for each writing and left it at that. You should've left notes somewhere because now all I have to work with is the titles alone, most of which I think you came up with while you were in the middle of insane explorations of Anglossic Qabbala. That CCRU influence got in there early, didn't it? Maybe it's better if I only half remember what you were originally getting at. As Borges says, the act of trying to remember a book in a way purifies it. You did leave out one thing: you should spend more time writing short stories even if you don't intend for them to end up in the final draft. They'll help you improve your craft and increase your confidence in what you decide to keep. But, enough lecturing. Let's get to what you were trying to envision.
You got a little weird with the order of everything in the book, which I like. Thus, you started with the end: Azanigin, Prince of the Final Harvest. The first thing you wrote down is Origins of Shadowside which appears to be a nod to the CCRU's Origins of the Cthulhu Club. If I recall correctly your goal was to essentially write a short history of Greta's Shadowside BBS as well as the Temple of the Red Lodge's eventual discovery of it. It's not a bad idea but I don't think you've yet spent enough time on a BBS long enough to get all the niche details right. At some point you should try to find one and become an active member since you already had a friend help with installing SyncTerm on Linux. You have a few details of Greta written already which is good but you don't have enough about the other Shadowside users to really flesh it out. Your friend was also correct when they assessed Hubbur's later writings as not really insane enough to form the theoretical basis of a bunch of Satanists on the Internet.
The next writing you wrote down was Altar of Gore which if I recall correctly was to be written by Commissar Murnau. I remember you've explained to your friends many times that this is the character you explicitly wrote to have at some point basically fried their brain with gore and shock sites that you remember from the early 2010's that I don't think are really online anymore. That's actually kind of an interesting one since it harkens back to a different age on the Internet when all of the gore was on specific websites instead of Twitter and a decentralized network of what I imagine are Telegrams and Discord channels. Since you like trying to tell a generational story you should try to write a character that's a friend of Greta's who was a member of an underground DVD and tape trading network of gore enthusiasts. You know, the kind of stuff people created and shared when Faces of Death started to get really popular. If you want you could even have some of them imported from Japan, like Shin Death File 3. The only minor problem you'll have to work out is whether or not the timeline works out, as well as how it all actually worked, but I'm sure you could find creative ways to fudge the details if you really need to. As for the writing itself, at least now I imagine it as a meditation on watching gore and other shock content to induce a kind of transformative experience, which sounds incredibly irresponsible and exploitative, but is the kind of thing you could imagine a guy like Commissar Murnau genuinely believing. I'm pretty sure you have minor PTSD from those shock sites, might as well put it to good use. The only other problem I'm noticing is you haven't yet worked out how gore and shock sites tie into the Temple of the Red Lodge's overarching metaphysical system so you should try to work out those details regardless of how horrifying the end result is. Tell me if you have any different ideas for this writing maybe after reading some Clive Barker stories.
After that you wrote down Zion-Babylon Axis which I genuinely have no idea what you were trying to get at with. It's obviously a nod to the Gog-Magog Axis from Cyclonopedia which I don't think you understand very well either, much like you don't understand the Axis of Evil Against Evil. If I'm remembering correctly it's because you spent a little bit of time learning about Rastafarianism probably around the time you got really into dub music. You probably had the idea after realizing that the AQ value of Zion is the same as that of Satan: 100. The only problem: Babylon adds up to 134 and reduces to 8 which corresponds to the Zone of Noctulius and not Azanigin who you explicitly wrote to be the harbringer of the Apocalypse. Since the Gematria doesn't seem to add up and you can't think of anything better you should probably leave this writing on the cutting room floor unless a better idea comes along. I'm not confident at all that you know enough about Rastafari to do anything interesting with it and because of your French knowledge you seem to be more interested in Haitian Vodou anyway. Maybe try listening to more Drexciya.
In the next section we enter the Zone of Noctulius, who was originally named Lidagon. The very first writing you put in this section is The Backwards Dark which you seem to liken to a combination of the Body Without Organs and a scene from A Scanner Darkly. This appears to be another one of the concepts you'll work out in further detail as you progress through your reading of A Thousand Plateaus. There was a passage I remember reading, or perhaps I dreamt it, which stated that in Anti-Oedipus Deleuze and Guattari work out that the schizophrenic state is a model of a productive unconscious which appears to be the source of all artistic creation, if you learn more you could potentially try to describe this process as reaching into and learning to glide in the Backwards Dark. It sounds like the kind of thing you'd come up with while listening to Burial or Aphex Twin.