Andy Martrich, 2016
Pitching with Demonic
Sigil Grips
The text of this book has been
designed as a guide and re-
source for the philosophy, fun-
damentals, and application
of demonic sigil grips for use
in the game of baseball. The
information found here has
been compiled through count-
less hours of research, practice,
and development at all levels
of the game, and reveals the
secret knowledge that has been
used to effectively instruct and
indoctrinate pitchers for over
two centuries. The skillful ad-
aptation of demonic sigil grips
is one of the most punishing
athletic activities to explore,
and I am fully aware that it is
equally formidable to coach;
however, while I believe that
the information provided in
this guide is essential to the
evolution of the craft, the me-
chanics and control it takes to
throw pitches without injury
is absolutely imperative. Risk
of physical injury will increase
substantially if complex grips
are used in combination with
inferior mechanics. Please con-
sider this a disclaimer; I do not
take responsibility for any inju-
ries that may occur.
About ten years ago, I was
moved to begin the research
and development processes
necessary for this guide. Hav-
ing been provided with an op-
portunity to coach, my initial
approach consisted of relaying
the same technical instruction
that I had learned from my
own coaches over the course of
my amateur baseball career. To
my dismay, I soon realized that
many of the players under my
guidance, especially pitchers,
were simply not progressing.
In my ignorance I had catered
to the reinforcement of the
graphic conformities confront-
ing my team, both collectively
and individually, each player
essentially coerced through the
same universal sieve. They had
been coached to toe the line,
acquiesce to pre-established de-
marcation without question, or
in other words, to fail. As a re-
sult, I was overwhelmed by the
idea of my own failure, which
inevitably led to tremendous
bouts of insecurity regarding
my knowledge of the game, for
as Mickey Mantle once said,
“It’s unbelievable how much
you don’t know about the game
you’ve been playing all your
life.” In retrospect, what should
have been the crux of essential
instruction then, is exactly the
authenticity that I recognize
now: a different way of know-
ing. That, of course, meant not
only a change in the methods
of research, but in myself as
well. I abandoned my coaching
position mid-season, and dedi-
cated myself to the search for
answers.
I had left without the slightest
comprehension of the phenom-
ena of the game. I was ignorant
of the very principles lying at
the bottom of an interrelation
that I then believed to be rela-
tively novel and autonomous,
but which I now know to be
as endemic and old as the tem-
ples of antiquity. I now under-
stand that all anatomies com-
mence with the establishment
of outward manifestations, the
spiritual genesis of dimension
promulgated as divine. Admit-
tedly, for some time I remained
skeptical to a fault. The extrav-
agances of faith in the evoca-
tion of invisible spirits seemed
to be so effectively detached
from the very machinery of
baseball, a game that at the
surface appears to be a simple
game of throwing and hitting,
even though every player learns
that the game becomes progres-
sively complex as they advance
to higher levels, especially for
pitchers.
Fundamentally, the common
authority on pitching desig-
nates two types of baseball
players that take the mound—
pitchers and throwers. Pitch-
ers are athletes who exhibit
a prodigious determination,
and dedicate themselves to the
study and implementation of
the physiological, intellectual,
and spiritual strategies and im-
provements that will enhance
their craft. Throwers merely
throw the ball, and are players
who typically lack the neces-
sary self-discipline and com-
mitment that proffers adequate
conditioning. Apathetic to the
advancement of their tech-
nique, they seldom progress
into mature pitching, relying
primarily on a congenital ve-
locity that rapidly deteriorates
with overuse and age.
To become a pitcher, it is nec-
essary to master at least 2 or 3
pitches that can be thrown for
a strike approximately 60% of
the time. An aspiring pitcher
should focus on 2 or 3 substan-
tial grips, rather than an over-
abundance of uninspired grips
with little control; however,
finding the grips that best suit
you will take time, practice,
and experimentation. Even
professional pitchers contin-
ue to change and adjust their
grips and mechanics. A notable
example is Toronto Blue Jays
pitcher and Cy Young winner
R.A. Dickey, who spent 9 years
in professional baseball before
completely altering his pitch-
ing arsenal.
I am aware that a process of
mastery contingent on patience
and practice stems from a tra-
ditional approach to pitching
instruction. But the procedure
found in this guide is better ex-
plicated by the trick in lieu of
the method—a sentiment much
more apropos here. The trick it-
self lies in the accurate distribu-
tion of the fingers over the ball,
which in effect conjures its élan
vital. The skilled application of
a demonic sigil grip will sum-
mon the causative force neces-
sary for the constitution of an
influential undercurrent that si-
multaneously activates and ma-
nipulates the ball’s fundamen-
tal anima. This is not new, but
rather ancient ground that my
pitchers break, resonant with
the minds of the saints, aes-
thetes, and diviners, who mani-
fest the reflections of forgotten
truths. Therefore, approach this
guide with a heavy but atten-
tive heart. We present a gener-
ous selection of 6 demonic sigil
grips and one should be careful
to choose wisely; demons never
forget a face or a name, and as-
piring pitchers should be cau-
tious not to bite off more, so to
speak, than they can chew. In
this respect, every pitcher who
is minded for progression must
tread lightly while thoroughly
understanding the dynamic
principles of mimicry and di-
vine evocation. There are no
intercessors, save in the sigils
themselves.
Before setting out the practical
considerations of this guide, it
is important to recapitulate a
lesser known aspect of baseball
culture, which is the adapta-
tion of esotericisms, occult and
black magic practices in order
to effectuate advantages, how-
ever large or small, in any given
baseball game. Being neither an
overt advocate of occult beliefs,
nor the opposite, I am better
able to document the affecta-
tion of praxis in this context;
however, it is important to
note that a suitable history of
these particular influences has
yet to be written, and it would
be encouraging to think that
the indications set out in this
guide might contribute to such
a work.
Baseball superstition is a com-
monly known aspect of the
game, albeit misunderstood,
treated somewhat comically as
an idiosyncratic offshoot corol-
lary to the game’s embedded el-
ements of chance. It is typically
not recognized as a flagrant
indicator of preternatural pres-
ences, but it certainly serves as
an effective starting point. Base-
ball professionals are renowned
as the most superstitious ath-
letes in the world—literally
willing to do whatever it takes
to sustain any kind of streak in
good fortune. Ostensibly, this
is a pragmatic inclination, as
the livelihoods of baseball pro-
fessionals depend on how well
they perform.
Almost exclusively, perfor-
mance determines whether or
not a player will be scouted
into the professional baseball
system, where a player is slot-
 A black cat circles Ron Santo at Shea Stadium in 1969, after which the Chicago Cubs
blew a nine run lead against the New York Mets
ted within that system (rookie,
class A short season, class A,
single-A, A-advanced, class AA,
or class AAA), and how much
time is spent there. The major-
ity of players never make it out
of the minor league structure,
and if they do, it is unlikely
that they will stay in the majors
for any significant amount of
time. Major league teams have
only 40 players on their rosters
at any given time, with 25 of
those players considered active.
This being the case, it should
come as no surprise that many
players rely on rituals and black
magic to gain control of the
countless uncertainties of base-
ball, especially regarding the act
of pitching, in order to emend
subpar performance results.
The pitcher is the player least
able to control the outcome of
self-effort. For example, a pitch-
er may perform exceptionally
well while warming up in the
bullpen, but suffer a noticeable
loss of ability as soon as a game
starts. Even with health and
full capacity maintained, there
is the constant possibility that
a batter will hit a pitcher’s best
pitch. Likewise, a batter may
just as easily miss a pitcher’s
worst pitch. There is also the
reliance on the fielding skills
of teammates; any hit pitch has
the potential to end up in the
glove of a fielder. Essentially, a
pitcher may play well and still
lose, or perform poorly and still
win, but even worse is the fact
that the affectation of good and
bad fortune does not always av-
erage out over the course of a
season. Some pitchers end the
season with poor won/loss re-
cords but maintain good ERAs
(earned run averages), and vice
versa. Regardless of how well a
pitcher performs, every outing
depends not only on skill, but
also upon the dexterity of team-
mates, the ineptitude of oppo-
nents, and more than anything
else, sheer luck. Therefore, it
would seem rather logical that
baseball professionals attempt
to reduce uncertainty by estab-
lishing courses of action regu-
larly familiarized according to a
given sequence. Rich Donnelly,
current Third Base Coach for
the Seattle Mariners writes,
“They’re like trained animals.
They come out here and ev-
erything has to be the same,
they don’t like anything that
knocks them off their rou-
tine. Just look at the dugout
and you’ll see every guy sitting
in the same spot every night.
It’s amazing, everybody in the
same spot. And don’t you dare
take someone’s seat. If a guy
comes up from the minors and
sits here, they’ll say, ‘Hey, Jim
sits here, find another seat.’ You
watch the pitcher warm up and
he’ll do the same thing every
time. And when you go on the
road it’s the same way. You’ve
got a routine and you adhere to
it and you don’t want anybody
knocking you off it.”
Donnelly echoes the senti-
ment of innocuous rationality
that is popular throughout the
baseball community regarding
baseball superstition. How-
ever, the truth of the matter
is that player actions become
prescribed behaviors in which
there is no empirical connec-
tion between the means. What
Donnelly fails to mention, no
doubt purposely given his 25-
year tenure as a Major League
Baseball coach, is that baseball
player routines are only the sur-
face, the superficial masks en-
casing a conglomeration of eso-
tericist rituals, enchantement,
and evocation. The notion of
baseball superstition is merely a
cover up perpetuated by Major
League Baseball in an effort to
disguise the 200-year-old pen-
etration of the occult that lies
at the heart of the game’s struc-
ture, embedded since its very
inception.
Now, I understand that for
the baseball layman, seasoned
fan, and obsessive stat junkie
alike, the dependency of the
game on the occult may seem
exaggerated or even implau-
sible, but nevertheless, I feel it
is necessary to establish these
lesser-known aspects before
launching into the instruction-
al portion of this text. The ritu-
als at the heart of the game are
contingent on an ancient dual-
ity symbolized in the Kerykei-
on, or Caduceus of Hermes,
the ancient symbol of two
serpents intertwined around a
staff surmounted with wings.
Here, again, we encounter the
trick in lieu of the method, as
Hermes has always been con-
sidered to be a correlated snake-
god, quick and deceptive. In
fact, he was envisioned in snake
form well before the Olympian
era. When he was anthropo-
morphized and admitted to the
new Olympian pantheon, he
was curtailed of his status as a
subsidiary chthonic god and es-
sentially demoted—associated
with what one might consider
being trivial functions. Regard-
less, it remained an essential
detail of his role that he was
not a single snake, but rather
the double snake, male and fe-
male, the most primitive and
prolific form of sexual duality
in the corporeal world. In the
pre-anthropomorphic era, this
dual snake was the god, well
expressed in the worship prac-
tices of the Cult of Hermes, a
residual figure of pre-Hellenic
religion. It is these double ser-
pents, the representative ser-
pents of duality, which serve
as the galvanic mechanism, the
tightly coiled springs wedged
beneath the underbelly of the
baseball process, a duality that
is acerbated by the pitcher, who
attempts to hem the split of the
batter’s realm via a deceptive
coalescence, pronounced quite
ingenuously by baseball mate-
rial specifics.
Physically, a baseball is a rubber
or cork center wrapped in yarn
(up to 1.6 kilometers in length)
and concealed in two seg-
ments of horse or cowhide. It
is around 229-235 millimeters
in circumference, 73-75 milli-
meters in diameter, and weighs
about 142-149 grams. But the
dominant characteristic of the
ball is the peculiar stitching
that holds together the horse
or cowhide—a serpent-like de-
marcation that simultaneously
elucidates the duality, malle-
ability, and unity of the object.
The Ouroboros split to reveal the innards of a baseball
A baseball is stitched in order
to cogently articulate the Ou-
roboros, the cosmic serpent
who subsists via the eating
of its own tail. Carl Jung de-
scribed the Ouroboros as the
corollary result of violent bi-
nary opposition, thus the first
living derivative thing, yet self-
contained without beginning
or end. Jung writes,
“In the age-old image of the
Ouroboros lies the thought of
devouring oneself and turn-
ing oneself into a circulatory
process, for it was clear to the may be, established by the in-
more astute alchemists that the nervation of perpetual feed-
prima materia of the art was back loops signalizing irreduc-
man himself. The Ouroboros is ible pools of interdependence.
a dramatic symbol for the in- This mechanically interlocked
tegration and assimilation of and self-complexing diadem of
the opposite, i.e. of the shad- the baseball is in fact structur-
ow. This ‘feed-back’ process is ally akin to a circular interlock-
at the same time a symbol of ing mechanism anatomized to
immortality, since it is said of maintain an electrostatic repul-
the Ouroboros that he slays sive force. The resulting high-
himself and brings himself to energy engaged conformation
life, fertilizes himself and gives overcomes a steric barrier,
birth to himself.” charged thermodynamically to
form a high-level energy linear
Opposites are assimilated and state in an irreversible process
resorbed in the equilibrium of that would otherwise be kineti-
the Ouroboros, where duality cally improbable.
refracts to the other, perpetu-
ally injected into its own di- As you will see, the application
chotomy. The fluctuation of and command of demonic si-
duality between and through gil grips relies heavily on the
itself refracts as the paradigm of protrusion of the Ouroboros,
all possible contingent ductili- which catches on the air to alter
ties, which ultimately connote the ball’s path. The systematic
the futility of categorical frag- manipulation of the ball to the
mentation. In the affectation of east, west, south, or a combina-
eternal return, the Ouroboros tion thereof, and the manner of
stabilizes a Sisyphean primor- deflection (sharp or gradual),
dial unity of consensus reality, depends primarily on how the
however illusory that reality Ouroboros has been unlocked
and contrived as a spinning ob-
ject. In rotation, pressure vari-
ants develop a cogent frame-
work in direct contention with
an object’s forward movement
resulting in the application of
the Magnus effect, the effect in
which a spinning object de-
ters from its flight path, which
generates a force perpendicular
to the motion of the object in
the direction of the spin. The
points of the object’s flow field
move in unison as the angular
velocity intensifies, and the pro-
pulsive movement flattens out
the velocity until the air sliding
over the ball forms a vortex that
coerces the two hemispheres of
the ball into direct conflict. The
alteration in speed and shear
creates a pressure difference
that accounts for the force (the
Magnus force) that moves the
ball toward the side where the
air velocity is higher.
In effect, the systematic ma-
nipulation of the ball via the
Ouroboros allows the pitcher
to exploit a batter’s default in-
security, physically demarcated
by the duality of the split rep-
resented by the two sides of
home plate, one protected and
one exposed, thus paving the
way for the exchange that is the
essential crux of the game—
the limit of death that lies in
the three-dimensional world of
form between the pitcher and
the batter. When the batter
takes the batter’s box on either
side of home plate, the other
side is left unprotected, and
the pitcher has the unique abil-
ity to rupture the duality of the
split through the skillful use of
the Ouroboros, the nullifier of
duality. This is why the batter
attempts to protect the other
with the bat, the dead serpent
in rigor mortis, thus encum-
bering the batter’s duality of
protection/insecurity.
All of this remains relatively
hidden, or at least, it would ap-
pear that it only has allegorical
value, and certainly that obscu-
rity is not an accident. But af-
ter a wide-ranging survey of the
field, including excursions back
to game physiology first princi-
ples, we encounter an evincive
overlapping of meaning, where
the ambiguity of the game’s
structural minutiae exists in
contention with the professed
interface or demonstrative
viewpoint of fans, regardless
of their level of fandom. These
processes overlap and remain
unintelligible to the mind,
working best when hardly dis-
coverable or at least when con-
sidered not worth dissecting—
essentially rooted in normality.
In lieu, their very mélange and
repetition becomes pleasurable,
like small waves ceaselessly lap-
ping at the shore of an expan-
sive lake. The affectation of the
contention is negated by the
sheer similarity (i.e. overuse) of
the processes to incur normality
sustained by the rhythm of the
game itself, so successfully de-
ceptive that when closely exam-
ined reveals nothing of its inner
occult functionality other than
what might be quickly written
off as baseball superstition or
some other kind of intended or
unintended awkwardness.
There is also the application of
overt baseball nostalgia, the pri-
mary residual effect of baseball’s
paramount role in the develop-
ment of American pop culture
throughout the 19th and 20th
century, in the majority of base-
ball’s promotional and market-
ing tactics. Take for example
the opening monologue of Ken
Burn’s Emmy-award winning
documentary Baseball,
“It is played everywhere. In
parks and playgrounds and
prison yards. In back alleys
and farmer’s fields. By small
children and by old men. … It
follows the seasons, beginning
each year with the fond expec-
tancy of springtime and ending
with the hard facts of autumn.
Americans have played baseball
for more than 200 years, while
they conquered a continent,
warred with one another and
with enemies abroad, struggled
over labor and civil rights and
the meaning of freedom. It is
an American odyssey that links
sons and daughters to fathers
and grandfathers.”
With specific emphasis on ro-
manticizing the ethnographic
milieu of baseball’s evolution
as a linchpin of American cul-
ture, a spectator’s imagination
is effectively marginalized and
seized via analeptic associations
of a personal capacity, resulting
in the secondhand reflection of
exemplified place and time ex-
perience, ultimately imparting
the euphoric sensation of mu-
tual participation and cultural
identity. Baseball, in so far that
it propagates a nostalgia-hallu-
cinated territory, absorbs all ac-
tive spectators as essential par-
ticipants of the histoire, eluding
to personalized ownership and
fortifying the synergies of self-
hood.
Perhaps even more detrimen-
tal to the development of a
comprehensively accurate un-
derstanding of baseball and its
history is the overwhelmingly
authoritarian faith of the ma-
jority of professional sports sci-
entists who attempt to preserve
baseball according to archaic
principles of athleticism and
athletic psychology, regardless
of having the quantifiable data
necessary to gain insight to the
structural peculiarities of the
game (for example, as a con-
temporary form of snake wor-
ship). This tendency to predi-
cate a present-day environment
on the athletic endeavors of
an idealized past would not be
nearly as detrimental if not for
the stubborn refusal of the mar-
ket to relinquish its audacious
claim to a kind of self-con-
tained anatomical perfection.
As sports scientists continue to
articulate their research in true
mise en abyme fashion, or more
specifically as a methodology
that refracts its own methodol-
ogy as its object, every resulting
proof simply supports an au-
thority systematized by hyper-
bolic semblances.
Through the potent combi-
nation of scientific authority,
marketing, and personalized
intimacy, baseball’s esotericism
endures remarkably obscure
and unopposed. The fan can-
not help but presuppose the
manufactured truths of Major
League Baseball’s overall agen-
da, which proffers a rational ex-
istence placated to the benefit
of the surface, as it is commonly
believed that there is no obvi-
ous evidence to assume that the
game should be anything other
than what it is marketed to be.
It is this successfully inundated
belief structure that prevents
the comprehensive study of the
game, and in turn solidifies a
parallel historicism.
Regardless, there remain some
relatively public indicators. For
example, there is the peculiar
relationship between Abner
Doubleday, the mythological
inventor of baseball, and Hel-
ena Petrovna Blavatsky, the
spirit medium that co-founded
the Theosophical Society, the
representative embodiment of
a popular occult philosophy
entitled Theosophy.
The seal ofTheosophy also incorporates the
Ouroboros
Doubleday joined the Theo-
sophical Society in 1878, expe-
ditiously scaling the ranks, and
by the next year found himself
appointed as President ad in-
terim of the Society’s American
branch in New York, whose
chief objective was “to inves-
tigate the hidden mysteries of
Nature, and the psychical pow-
ers latent in man.” In 1880, he
was elected Vice President of
the Society in a global capac-
ity. Doubleday’s involvement
with Theosophy gradually di-
minished towards the end of a society to ask questions and
the 19th century, at least pub- make suggestions, but there
licly, particularly with the de- are some Theosophical secrets
velopment of the American which cannot be made known
Board of Control; however, he to the public or become a
remained a staunch supporter theme for discussion. In such
of Blavatsky, even after well- cases silence does not neces-
publicized accusations of fraud sarily mean assent to a propo-
nearly destroyed her career. In sition. So far as my experience
1888, he openly defended her goes I have never found any
against these claims in a letter one addicted to the study of
to the editor of The Religio- Plato and the old masters—any
Philosophical Journal, writing: one capable of understanding
their finer and more spiritual
“It is easy for people outside of meanings—who could for any
consideration be induced to
engage in any cheap thimble-
rigging performance to obtain
a senseless notoriety from gap-
ing crowds. To those who know
her, the bare assumption that
Madame Blavatsky is that kind
of a woman is unutterably ab-
surd, and does not need refuta-
tion.”

Another prominent supporter

of Blavatsky and the Theo-
sophical Society was Albert
Goodwill Spalding, baseball
Helena Petrovna Blavatsky in 1889 executive and founder of the
A.G. Spalding Sporting Goods
Company. Spalding was a
dominant presence in the fun-
damental development of base-
ball, notably having written the
first official set of rules and co-
founding the National League,
the older of the two leagues
that currently constitute Major
League Baseball. Spalding and
his wife Elizabeth Mayer held
an essential role in publicly ad-
vocating for the Society’s objec-
tives and affairs. As a key pros-
elytizer, Spalding decided to
anoint Abner Doubleday as the
ostensible inventor of baseball,
a marketing tactic that used
Doubleday’s reputation as a
well-respected General and war
hero to simultaneously pro-
mote the Theosophical Society
and Major League Baseball for
well over a century.
Another example, albeit a bit
more contemporary, is the
common occurrence of ritu-
alistic animal mutilation and
sacrifice in baseball, which
has attracted considerable at-
tention over the last 30 or so
years. A notable case occurred
in Texas in 2011, when two
high school-level baseball play-
ers came under fire for sacri-
ficing baby chickens on their
home field in a ritual aimed at
impeding a losing streak. Wrig-
ley Field in Chicago, where
mutilated goats are often left
to hang from the Harry Caray
statue just outside the bleacher
entrance of the stadium, has
become a well-known place for
ritualistic gatherings involving
animal sacrifice.
It would be an understatement
to say that discussions on the
connotation surrounding these
practices in different contexts
are undeveloped, specifically
in that any implication of rit-
ualistic activity is absorbed by
the resilient notion of baseball
superstition. For instance, at
Wrigley Field these sacrifices
are played off as attempts to
end the notorious Curse of the
Billy Goat, a prominent legend
of baseball superstition in its
 Mutilated goats hung from the Harry Caray Statue outside of Wrigley Field
own right, which constitutes a
hex performed on the Chicago
Cubs in 1945 that many fans
consider to still be in effect. Al-
though these practices are by
no means sporadic, the propa-
gated common denominator is
used to deviate from the spe-
cific role of ritualistic mutila-
tion and sacrifice in baseball.
Obviously for the sake of our
considerations, contemporary
study (outside of baseball) has
provided numerous indications
of the connotation of these
types of rituals, primarily con-
sidering the zooarchaeological
and iconographic role of the
goat (i.e. scape goat). But in
the shadow of baseball it is nec-
essary to consider the broader
context of sacrifice within the
archaeology of athleticism,
and perhaps more generally,
physical enterprise, which as
a socially-necessary empirical
act allocates cosmological and
supernatural powers on select
focal points through their par- Miller Park in Milwaukee. The
ticipation in an intense, dare I source was Chicago Cubs TV
say transcendental, formality, commentator and former pro-
in lieu of a persistent method- fessional pitcher Jim Deshaies,
ology or selection of a specific who notably admitted to using
animal. Unsurprisingly, this is black magic to help the Hous-
not a research venture that Ma- ton Astros beat the San Diego
jor League Baseball would ever Padres in 1988. Deshaies re-
consider supporting. flects on the practice of witch-
craft as a rather commonplace
Perhaps alluding to the par- activity, describing the process
ticular role of occult practices as a routine collaboration with
in the Chicago Cubs organiza- teammates, who he refers to as
tion is a rather bizarre display “co-warlocks”—
that occurred during the 2013
season when occult symbols “I came upon a spell that
and magic stamps were flashed would put a curse on one’s en-
during a Cubs’ broadcast from emies’ house. Seemed like a fit.

Occult symbols flashed during a live broadcast of the Chicago Cubs vs. the Milwaukee
Brewers in 2013
It called for twigs from 3 dif-
ferent types of trees. I gathered
twigs from the first three trees
I came upon, brought them to
the ballpark, and gathered a
pair of co-warlocks (Larry An-
dersen and Dave Smith). The
spell mandated we spit on the
twigs, light them on fire, and
while smoldering recite the in-
cantation.”
Having set the tone, I now
want to briefly comment on
the instructional portion of this
guide. Initially, I had hoped to
be able to present the text in
such a form that it would re-
quire little explanation and be
easily intelligible to the general
baseball community (i.e. play-
ers, coaches, parents, fans, etc.).
However, it soon became evi-
dent that without taking into
account empirical observation,
baseball’s peculiar pseudohisto-
ry, and matters of psychological
and spiritual enterprise (many
facets of which have been de-
scribed in this introduction),
it would be impossible to do
more than provide a superficial
skimming of the techniques.
This would have been danger-
ous, as inadequate knowledge
inevitably does more harm
than good, especially consid-
ering the possible evocation of
malevolent spirit beings.
It is a little-known fact that
many scrawls and motives in
ancient works of art and litera-
ture are demonic sigils, com-
posed of compressed meaning,
practices, incantations, and in
some cases, corporeal substanc-
es. As Arthur Machen writes,
“such forces cannot be named,
cannot be spoken, cannot be
imagined except under a veil
and a symbol.” But so far as I
am aware, this is the first guide
of its kind to assemble a collec-
tion of these sigils illustrating
their explicit use in baseball.
The instructional portion of
this guide was constructed via
the collation and examination
of a large number of demonic
sigil representations and their
derivatives as contemporary
baseball grips. Grips are de-
scribed rather than visualized
in order to emphasize the sigil
images. Self-discovery is essen-
tial to my method of instruc-
tion; therefore, effective use
requires a certain level of inter-
pretation on the reader’s part.
When one works (intentionally
or not) in conjunction with the
demon, the sigils function as
activation indicators that when
matched with their double bio-
mechanical choreography will
unlock one’s ability to gain the
necessary physiological domi-
nance over the ball’s anatomi-
cal faculties via the Ouroboros,
ultimately resulting in the suf-
ficient deception of batters.
Please note that sigils will re-
main unnamed in an effort to
avoid what might lead to ac-
cidental evocation. It is in the
emulation of the sigil that the
grip finds its power—thus the
focus of this guide remains on
the activation process of spread-
ing the fingers over the ball in
the form of the sigil, instead of
in the actual summoning of in-
herently precarious spirits, who
are constantly attempting to
creep into human bodies and
return to terrestrial life (posses-
sion being their only agency of
establishing the purity neces-
sary for the transmutation into
minerals, plants, and animals).
In Dogme et Rituel de la Haute
Magie, Élphias Lévis explicitly
warns:
“Those who abdicate the em-
pire of reason and permit their
wills to wander in pursuit of
reflections in the Astral Light,
are subject to alternations of
mania and melancholy which
have originated all the mar-
vels of demoniacal possession,
though it is true, at the same
time, that by means of these re-
flections impure spirits can act
upon such souls, make use of
them as docile instruments and
even habitually torment their
organism, wherein they enter
and reside by obsession, or em-
bryonically.”
However, in our current con-
text, I believe that it is not the
role of the practitioner to de-
cide either for or against the be-
lief in spirits, or for that matter
in the phenomena of evoking
external manifestations, such as
fire hovering around an oppo-
nent’s dugout or the summon-
ing of a meteor to crush the
stands. To a certain end, these
sorts of acts are absurd, and it
is essential to approach this text
with the understanding that we
are only interested in the pos-
sibilities within the constraints
of the game, specifically the
manipulation of pitches. Tech-
nically speaking, the pitcher
of little faith may still unlock
influence via ritualistic and ju-
risdictional intention, indica-
tive of a homogeneous running
through the motions that was
held by many of the early ini-
tiates of the temples of antiq-
uity, and to which the majority
of western metaphysicians and
scientists seem predisposed to
critical orientation. Regardless
of varying esotericisms and be-
lief structures, these spirits are
universal maliciousness incar-
nate. Therefore, pitching with
demonic sigil grips is a delicate
balance. Make no mistake—
these grips are powerful, and
they absolutely work.
Perhaps it is not necessary to
mention again in the present
context, but it constitutes an
essential facet of my approach,
so to speak, that the faith of
practitioners of demonic sigil
grips who deal more particu-
larly in external manifestations
remain an inessential quality of
praxis. However, as an unbiased
documentarian and instructor,
I will be cautious not to omit
any enigmatic exploits, even
with due consideration for the
obvious difficulty of believing
in the preternatural actions of
these adept magicians.
In the intellectual world,
whence the fatal law, this sigil
is simultaneously indicative of
a dominant fire element and
submissive terra specter. Fire
produces a fast kinetic en-
ergy while the earth simulates
a subtle drag in auxiliary. As a
result, this sigil manufactures a
high-velocity pitch while con-
currently initiating a friction
against itself, in effect casting
slightly off-speed and deviating
along one-plane (from east to
west and vice versa depending
on a RHP or LHP, but seldom
north to south).
There are two correct ways to
apply this sigil to a baseball:
The first, and more preferable
manner of adaptation is to hold
the ball so that the Ouroboros
forms a “U” away and toward
the body. Place the index and
middle fingers on the narrow
portion of the diadem, while
pressing the thumb firmly to
the bottom of the ball. From
this position, shift everything
toward the middle finger. In ef-
fect, the index finger is wedged
against the middle finger, and
the thumb slides up to catch on
the side of the ball. A possible
variation is to place the index
and middle finger tightly to-
gether over the widest portion
of the diadem with the thumb
resting firmly up the inside of
the baseball.
In both cases, the pitcher is
throwing from off the sides of
the baseball. The categorical
essence of the grip is embod-
ied by the middle finger, the
representative crux of the sigil,
which attaches to the Ourobo-
ros in order to effectuate the
necessary rotation. Be care-
ful not to apply the grip with
too much pressure, as fire and
earth refuse to hybridize in co-
erced equidistance, particularly
with fire rooted as the domi-
nant shadow. Successful ap-
plication of this grip results in
an off-center pitch of potent
kinetic action; however, the
affectation of terra will ensure
that the ball veers to the left for
a RHP and to the right for a
LHP at around 16 meters. As
the hitter will not be expect-
ing any movement on the ball,
the deception lies in the one-
plane displacement, disrupt-
ing time and confidence, as the
ball inevitably misses the sweet
spot of the snake, resulting in
frequent pop ups and ground
balls for easy outs.
As a hitter, I witnessed this phe-
nomenon during many at-bats,
but in my ignorance, I had al-
ways regarded it as mere fraud,
and it never occurred to me that
it would be in my best inter-
est to record the circumstances
under which it occurred. RHPs
would typically pitch with
this sigil off the outside of the
plate so that it would inevita-
bly tail back toward the outside
corner (I bat lefty). In many
cases, I did not even recognize
the movement until after the
swing. Truly, when correctly
gripped, the demon manifests
just as sneaky and deceptive as
if the embodiment of the dual
snake itself. But in my defense,
no one talked about this pitch
30 years ago, and although
this sigil may constitute one
of the most powerful illusions
in baseball, it was necessary to
build my analysis from residual
information.
It is an essential aspect of my
pitching philosophy that when
one convincingly emulates the
antecedent monadic or sub-mo-
nadic (egoic) level—one epito-
mizes the very act of divine be-
coming or manifestation. Austin
Osman Spare writes that “the
lower we probe into these stra-
ta, the earlier will be the forms
of life we arrive at; the last is the
Almighty Simplicity. And if we
succeed in awakening them, we
shall gain their properties, and
our accomplishment will cor-
respond.” In effect, I observed
that it is at the first touch of
monadic influence where a ray
of light impregnates a sphere at
the etheric level while simul-
taneously encompassing the
celestial removal of the object
of divination, the aurora. Into
its equatorial dimension it self-
digests into a spinning disc of
intense coruscation, an un-
clouded miniature terra.
Our second sigil is prognostic
depth and blinding light, em-
bodying the hours of peak day
and ingratiating the conjura-
tion of astral blindness upon
one’s enemies. Correspond-
ing to the contraction of the
snake’s pupil in the daylight,
the pure golden ejaculation of
our unnamed spirit is applied
to slip the object from delin-
eation, as the sphere quickly
dislocates from the optical axis.
Here, blessed by the aegis light
of the serpent, the magician
ensures the spectral obscurity
of the sphere just before osten-
sible climax.
To apply this sigil, arrange the
middle finger directly over the
wide curve of the Ouroboros
with the index in toe, knuckles
touching. Adjust the index fin-
ger to lightly press against the
middle finger and the ball (just
off the diadem). To emulate the
central vertical demarcation of
the sigil, provide pressure, as if
attempting to sever the ball in
half, between the thumb and
middle finger. The pinky and
ring finger remain off the sides,
with the tip of the ring finger
touching at the central most
point of the bottom axis (with-
out feeling for the thumb). The
index finger and thumb impart
a compression that manifests as
a tense spin on the ball when
used in combination with
a sharp slashing release, as if
throwing the axe while chop-
ping wood.
Legendary pitcher Tom Seaver was a notable practitioner of this particular grip
The resulting throw will split
down and in to an opposite
hand hitter at about 152 mil-
limeters. Although the ball will
appear to have full acceleration,
it typically drags 9 to 15 kph
slower than a pitcher’s high-
est velocity throw, and more
importantly, will drop from
the batter at the last second.
The descent of the ball, even
in modesty, is essential to the
effectiveness of the pitch as it
forces the batter to contend
with north to south as well as
east to west or west to east de-
parture (depending on a RHP
or LHP) just before reaching
the strike zone.
Please note that the demon has
the potential to manifest with
an overt maliciousness, spiteful
of any indication of desecra-
tion, remote or otherwise, as
the continued application of its
sigil is substantially stressful on
the arm. If it is overused in bad
faith, it may actually commence
the premature deterioration of
arm strength. Regardless of the
sheer beauty of the effect, no
well-executed magic is worth
destroying the future of a young
pitcher, as the demon tends to
examine impressionable youth
with inflexible envy. In lieu of
mechanical deficiencies, the
application of the sigil must
be immediately reanalyzed and
rebuilt as deemed necessary by
expert practitioners. However,
I remain confident that when
thrown with humility and con-
sistent mechanics, the demon
will ensure the healthy state of
the arm. Regardless of peril,
National Pitching Association
research shows that when this
sigil is applied to a ball on a 0-0
count where the ball is put into
play, the hitter’s average, in-
credibly, is a mere .078; but, it
is essential that the pitcher and
coach weigh the potential con-
sequences with serious caution.
The spirit of our next sigil has
many names, and its origins
can be traced back to the Third
Book of Enoch of the Old Tes-
tament Apocrypha, where its
powers were claimed to have
marginalized hundreds of thou-
sands of subordinates. In East-
ern Orthodox iconographic
art, the spirit was often depict-
ed along side a long stemmed
white rose, a conservative sym-
bol of reticence. The sigil is the
representative reactivation of
the permanent atom or imper-
ishable germ at the latent state
between incantations of veloc-
ity and parallel force vector at
the non-corporeal level of its
manifestation.
Not unlike the qua zygote
monad, it does not descend
directly into the field, but at-
tempts to dwell in its own
world, even upon full release.
Here, the nucleus appears to
interweave currents at great
speed, while in effect actualiz-
ing and reducing the absolute
velocities of its induction. As
a result, the activation trans-
mits the counter-motion ma-
terialization of flow field points
against the object’s expiable
reactors. This, by a process of
magnetic attraction, articu-
lates as an intricate feedback
drag pattern determined by a
rather tenacious reluctance re-
garding the manifestation of
the spiritual monad, and is the
only invocation of its kind, as
is currently known to me, to
impart the actual physiological
presence of absolute hesitancy.
This gradually impregnates the
form of the three-dimensional
sphere—a weight that pulls at
the flow field points of inter-
section and severs the current
at the optical reception level.
Regardless of its incredible
power, in contrast to our pre-
vious pitch this is one of the
easiest and safest sigil grips to
apply to a baseball.
To apply the sigil, begin by
splitting the baseball in half
with the thumb and middle
finger. This is the linchpin of
the grip, and allows the pitcher
to disguise the mode of affec-
tation. Form a tight circle with
the thumb and index finger,
similar to an ‘OK’ sign, on the
side of the ball. The amount of
drag on the ball depends on the
tightness of the circle. In order
to throw the pitch correctly, it
is necessary to pronate the wrist
and forearm slightly inwards.
Release the ball with the circle
adjacent to home plate while
maintaining full arm velocity.
Do not alter body movement
or motion while attempting
to evoke the demon’s effect, as
even the most minute deter-
rent is excuse enough to nullify
manifestation.
The affected ball breaks down
with a distinct slowness while
in ostensible contradiction
maintains the appearance of
full velocity. When the sigil is
effectively gripped over the ball,
the demon persuades the hitter
to swing ahead of the pitch, up-
setting the timing of the bat. As
soon as the magnetic link be-
tween the ball and the circular
field establishes germination,
the germ and the field coagu-
late spatially until the zygote
Pitcher and Occultist Barry Zito posing for Esquire in 2007. Zito is well-known for his consis-
tent manifestations of absolute hesitancy

and the central nucleus of spin- specifically at counts 3-1, 2-1,

ning energy coincide to disturb and 2-0.
the balance of a hitter’s timing.
The pitcher will ultimately rec-
ognize that alternate patterns
effectuate or superimpose over
the object, so that a negative
overlies and hides a positive
charge and vice versa—or that
anamorphic germination may
resonate as petulant behavior/
thought, or a morbid eager- The spirit of the next sigil of-
ness that is relatively easy to ten appears in a red Ouroboros,
exploit. Adapt this sigil early not unlike the stitching of the
in the count for ground balls, baseball, which divides at the
diadem to reveal the essence of
the sphere, a ruby fire. The fire
specter residing in this sigil is
the representative of the blood-
ochre and haematite with
which the ancient worshippers
of the dual snake used in cer-
emony, coating their bodies to
provoke the primordial sexual
desires of the pre-Olympian
Hermes figure. The flames are
the consciousness of the prog-
eny, the derivative device of
undoing. Paradoxically, it is the
fire that simultaneously opens
and reseals the wound, bind-
ing any residual semblance of
duality revealed in the process
of erosion. Fire alone embodies
the Ouroboros in quantitative
multiplication, recreating and
individuating timeless multiple
selves, appearing and prolifer-
ating in magnitude.
Although control is an obvious
generality of effective pitching,
the flame specter is particularly
insistent on the absolute purity
of agency, deeming it an essen-
tial facet of the activation pro-
cess that leads to the successful
use of divine fire as an appa-
ratus for transforming aggre-
gate conditions at will. In this
sense, the manifestation can be
fickle, as the demon has nota-
bly shunned many immodest
practitioners during game play,
even for what one might con-
sider to be rather trivial sins.
The effective application of this
sigil to a baseball results in an
incredibly high velocity pitch
with very little break. To ad-
minister the grip, hold the ball
with the wide curve of the dia-
dem facing away from the ring
finger, to the right for a RHP
and to the left for a LHP. The
tips of the index and middle
finger grip the top seam of the
wide curve, while the thumb
is pressed directly underneath
the ball with the knuckle just
touching the lower edge of the
wide curve. Maintaining a gen-
erally loose grip with the ball
out into the fingertips provides
a substantial gap between the
ball and palm that results in a
quicker release for more veloc- a sharp delivery that quickly
ity. passes through the strike zone
before the batter is able to
The positioning of the thumb make a capable decision re-
and middle finger impart a garding the ball’s affectation.
backspin which moves in uni- The successful application of
son with the Ouroboros, result- the sigil results in an intense
ing in a tight rotation that con- speed that is very difficult for a
stitutes a strong lift co-efficient, batter to adequately time, often
with the ball appearing to rise resulting in an ineffective swing
at the last second. The osten- delivered behind the ball. Con-
sible upward bend is in part sidering my own retrospective
due to the flicker fusion thresh- experiences as a hitter, the use
old, the frequency at which the of this sigil was most effective
ball reflects light and appears if the pitcher used it when I
as a constant, at the nexus of was expecting an off speed or
the Ouroboros in rotation. breaking action, specifically in
This grip produces an effect the 0-1 and 1-2 counts.
where the Ouroboros traverses
the vision of the batter due to
the effectuation of an excessive
flicker rate, which obscures the
visual cues that normally allow
a batter to track an incoming
pitch.

The resulting pitch is abso-

lutely powerful considering its Coaches need to understand
pure velocity, lack of deviation that the framework for all ath-
from the intended flight path, letic comprehension is defined
and visual obscurity, yielding through the environment in
juxtaposition to the physical
and psychical limitations of the
body always in its immediate
context, i.e. locality. However,
this is not to suggest that hu-
man limitations are solely re-
liant upon localized contexts,
but rather that a fundamental
athleticism is dependent on its
susceptibility to environmental
alteration at a distance or oth-
erwise. In the case of this sigil,
alteration connotes the deport-
ment of primordial travel.
The absence of Mordecai “Three Finger” Brown’s index finger allowed him to apply this sigil
with peculiar skill
Visible on the field during the
occasion of the inconstant, the
illuminated sphere arcs over
the split seemingly by a spon-
taneous column of wind. The
arrival of the affected sphere
is physiologically marginalized
by the asymptotic energy re-
gime powerful enough to con-
trol and bend space-time. This
energy is derivative, wholly
contingent on the demon’s al-
teration from the continuum
of perception to the realm of
human physicality—a process
that simultaneously results in
the sphere’s deviation from the
flight path between two hy-
pothetical points via entangle-
ment. The core mechanism of
this process is dependent on a
succession of actions initiated
by the divine proofs of the sigil,
here a corollary delivery device
in the form of a compressed
homily to the spirit of the in-
constant. But I fear that I have
revealed too much regarding
its character. I advise you not
to mention its name if you feel
that you know it.
To adapt this sigil into its proper
grip, set the middle finger along
the wide portion of the diadem
parallel to the long seam. On
the obverse, the thumb should
bear down just at the rear of the
seam. When set correctly, the
hand will model the letter C—
with the wide portion of the
diadem directed to the palm
approximating the curve of the
thumb. In order to ensure that
the index finger imparts very
little pressure, bend it back
with the tip of the nail lightly
touching the soft leather off the
seam. Many practitioners have
successfully used this sigil while
leaving the index finger off the
ball entirely, although keep in
mind that a raised finger has
the potential to tip off intui-
tive batters. Upon release, the
ball will miss the index finger
and skid along the middle—an
impediment that creates a for-
ward moving topspin with the
axis of rotation tumbling into
the flight path, just opposite
the movement of our previous
sigil.
The resulting pitch splits down
and toward the off hand, with
the effectiveness of the break
dependent on the amount of
topspin applied. The extent
of the break will vary for each
pitcher, and can range from
around 10 to 50 centimeters.
From the batter’s persepec-
tive, the pitch appears to be
approaching high, but will
break at the last second, ideally
through the strike zone. This
pitch can be incredibly chal-
lenging to hit, as it is difficult
for the batter to anticipate the
exact location of the break. But
be forewarned, an inaccurate
application of this grip may
result in a slow, lob-like throw
that hitters can easily hit for
power. There is also the poten-
tial for frequent wild pitches
and passed balls when thrown
with little control.
If a developing pitcher feels
confident enough in their com-
mand, they should consider
mixing this grip into their 0-0
count repertoire; however, as
a pitcher progresses into high
school and college-level ball,
it will be more strategic to use
this grip during the 1-2 count.
Please keep in mind that as this
pitch is relatively easy to throw,
many young pitchers will be
tempted to overuse it. Coaches
should be sure to provide prop-
er guidance, limiting novice
practitioners to a 20% use of
this sigil during game play.
The study of athleticism as a
form of evidence, with its severe
emphasis on the limitations of
the body and physiological ex-
perience, in no way relieves the
essential role of the a priori.
On the contrary, it connotes
a foundational undecidablility
regarding the notion of exten-
sion, and in some cases disloca-
tion, of corporealness. Here are
the facts of my explorations,
and anyone dependent upon
the so-called strands of logic
should attempt to understand
the grounds of my observations
before hastily rejecting them.
The spirit of this sigil appeared
as the sphere exploding into
randomness, isolated shells of
light each evolving into their
own isolated self-explosions,
the repeated object becoming
Eddie Cicotte was one of the first successful practitioners of this manifestation

an electrical deluge by means the peculiar placement of the

of high frequency currents. Ab- index and middle fingers will
surd as it seemed at my initial reduce the amount of spin on
witness, I began to see the act the ball, essential to the deliv-
performed by others at differ- ery of the pitch. To stabilize the
ent times, and I became deter- ball, place the thumb just above
mined to watch the practitio- the seam on the inside of the
ners so that I could map the ball with the ring finger to the
phenomenon to its appropriate outer seam. The pinky should
sigil pattern. be held off the ball, provid-
ing no grip whatsoever. Upon
To apply this sigil grip to a base- throwing, lift the thumb and
ball, keep the index and middle let the ball slide from the hand.
fingers together while digging
the nails beneath the wide por- The resulting pitch is volatile,
tion of the diadem. Although it incalculable, and incredibly
may feel a bit awkward at first, disorienting. This is predomi-
nantly due to the pitch’s ab-
sence of spin, i.e. the absence of
the Magnus force, resulting in
extensive movement of an en-
tirely different capacity. When
the sigil is effectively applied the
ball will quiver along its flight
path, appearing to zigzag in the
air. Even more bizarre is that
the movement is immeasurable
and cannot be predicted. Upon
analysis, the pitch reveals an ex-
pansive range both in direction
and magnitude—the pattern of
its trajectory completely uncer-
tain. Consequently, this pitch
has been described as a true de-
ception, a kind of divine deceit.
The ball is impossible to track
from the hitter’s perspective (or
anyone’s perspective for that
matter, including the catcher
and umpire), and in effect the
bats swing in residual blind-
ness. Sportscaster and former
professional baseball player
Tim McCarver once quipped
that, “Hitting that thing is like
trying to catch a butterfly with
tweezers.”
In the context of Ernst Scher-
tel’s adage, “False images are
necessary for the recognition of
truth”—it is rather provocative
to consider this pitch as syn-
ecdochical of the game itself,
where the presentation is subse-
quently administered in lieu of
a proverbial aesthetic ironically
hijacked by economic prowess,
i.e. the absolute corruption of
its verity. Here we witness a pri-
mary example where the affec-
tation of magic is neither repre-
sentation nor appearance. The
demon introduces no tangible
objective and in effect repre-
sents none, yet provides access
via the absence of its pattern
in the sense that what can be
imagined has the potential to
remain eloquently unmapped.
Perhaps then it is privileged be-
yond truth, or at least exempt
from the judgment of its prax-
is. It overwhelms the duality of
the pitcher/hitter exchange, of
its own form/content, and be-
ing/essence—the destruction
of which embodies the true
form of baseball, the one that
we have been missing since the
adaptation of the contempo-
rary professional baseball sys-
tem.
I suspect that the seamless syn-
chronization between objects
and their affectations, par-
ticularly in this context where
we have very distinctive con-
straints, provides the necessary
assumptions of natural inter-
relation that lead to the accep-
tance of profane phenomena as
routine occurrence. Therefore,
one may be skeptical of the in-
terpretation of the process, but
not of the outcome—in the
manner of a seeing is believing
cliché. However, acceptance in
an athletic method not only
homologizes physical integra-
tion on a level of strength and
dexterity, but also on the trick
itself, which mirrors the social
and psychological processes
of understanding the specific
role and perception of limita-
tions. Under ‘normal’ opera-
tion, the trajectory of a process
is by default evolutionary. But
because of humanistic suppo-
sitions regarding the constitu-
tion of progress, we are inevi-
tably at fault in assuming that
it requires some kind of physi-
cal movement. Without the
necessary conditions rooted in
space-time, these facets of so-
called progression do not exist.
Simultaneously, there is a point
where an object is presumed to
be in a state of suspended ani-
mation, as the properties of ev-
ery synecdochical pattern must
regenerate in the context of the
whole; there is no choice but
to repeatedly assimilate to the
whole.
Parallel to the evolution of the
part within its host structure,
and with consideration for its
specific limitations, we observe
that effects can be discovered
via individual gestures. As evi-
denced in the instructional
portion of this guide, each fin-
ger relates to a specific object
as a magical act connected via
an outward manifestation cor-
ollary to a given ritual. In this
sense, each finger is the rep- powerful, and they do work. I
resentative crux of an instant, am fully aware that my words
dislocated yet wholly belonging are by no means conclusive evi-
to its source capacity, forcing its dence, but they are reinforced
object to an ephemeral thing of by my truthful accusations,
pure malleability. In this condi- primarily concerning the es-
tion lies the peculiar emancipa- sential role of inimical spirits
tion from the opulence of form in the game of baseball.
where no intention or event may
divide or effectively reduce the
affectation from the object. In
effect, there can be no inverse
architecture, and thus, ephem-
eral in its wholeness as neither
idea nor physicality, it produces
no tangible thing, remaining
the same while transcending it-
self, i.e. the Ouroboros.

Certainly, there are instances

where even logic refuses its own
understanding, and so I have no
delusions regarding the accep-
tance of my pitching system.
But be advised that should you
as a coach, player, or parent,
decide to experiment with de-
monic sigil grips, you will not
be disappointed in terms of the
results. As mentioned in the
introduction, these grips are
Pitching With Demonic Sigil Grips
Andy Martrich
2016

Cover design: Madalyn Merkey

Interior design: Andy Martrich

Published in an edition of 150 copies by

PRB Editions
http://poeticresearch.tumblr.com/
PRB Editions