This may be my most powerful work to date. It is a work that was first drafted in 1970, and then revised again and again. At one point it was to be the appendix to the twelfth key of the Western Mysteries. But it ultimately took its final form many months after the publication of the Key of it All series. In the summer of 1995, I found myself bedridden for a week with the flu. I suffered a fever that made me sleep through most of the week. Yet at the end of my illness, a strong clear masculine voice spoke deep within me with the admonition to write my Qabalistic treatise on the Cube of Space yet once again. This time, I was to exclude all the complicated Qabalistic symbolism that was the topic of my prior treatise. I was to write it in the most simple of fashion, from the perspective of someone traveling the borders of the cube. It was to resemble a fairy tale, and all references to the Tarot should only be by the names of the Major Arcana. No heavy-handed Hebrew number symbolism, no deep esoteric analysis should be in this text. Rather it should be written for all to enjoy, even those with no prior knowledge of the Tarot. What an awesome assignment from my inner guides. For it meant that I was to throw out all that I had previously written and start anew.
When I finally recovered from my week's illness, I immediately went to my study, and took up pen and paper. For the next 3 days I wrote without pausing, consumed with the greatest of inspiration. The words just flew from my pen, and after my 3-day ordeal I had 149 pages of my manuscript before me. I was amazed by what came through, for I finally caught the spirit of the cube in a way I had never thought possible beforehand.
I have had a circle of students around me at various stages of my work. In my teachings of the Tarot, I had always spent a whole class session walking the students around the cube. In the early nineties I had two such sessions preceding the writing of my book. But when the book was finally written down, I found inspired passages that covered topics never touched upon in either my classes or my own personal vision quest. Even though it only took 3 days to compose the backbone of the book, it took a whole year to complete the text, and another year to illustrate it.
I have a deep love for the work of Paul Foster Case. His work on the Tarot and the Qabalah has been preserved by his own spiritual organization the Builders of the Adytum (B.O.T.A). I count Case as one of my own spiritual teachers on the inner plane, and I felt Case's own guidance throughout all my work with the cube. As such, the only Tarot deck that could possibly work for this project was Case's own Builders of the Adytum Tarot Deck. For it served as the deck which originally unlocked the pattern on the cube for me as early as 1970. This definitely would be a stumbling block for my project, for without the permission of B.O.T.A. I could not really finish my book. So when I had the final version completed, I sent the manuscript to B.O.T.A. with the hope of gaining their permission to use their deck not only in black and white but in color as well.
I wanted the reader to have a three dimensional model of the cube in full color. As such I created a folding cube using the B.O.T.A. deck as an end piece to my work. All this would have to gain their seal of approval, including my own unique interpretation of the artwork used in their most magical of Tarot decks. To my surprise, my guardian angel was looking over me. For in less than two weeks I gained permission to use the only deck that would make my book work that of Paul Foster Case. And I was granted the use of the deck in both color and black and white.
Publication was equally magical for me. Although Llewellyn Publishing was aware of my project since the early nineties, I could not quite convince them to publish this work, even after I gained permission to use the B.O.T.A. Tarot deck. Somehow Llewellyn wanted me to rewrite the text around one of their own 'in house' Tarot decks. But this was not possible, as anyone would attest once they read my unique text. I had to use either the B.O.T.A. deck or none at all. So I turned my attention to Samuel Weiser Books. In 1974, I wrote my first version of the text and sent it to Weiser Books. Although Weiser rejected my project in 1974, they accepted it in less than a month in 1999. And now it should see print before the end of 2000.