CARL JUNG'S THE RED BOOK includes themes from Jewish and Christian myth and esotericism. The new facsimile edition is reviewed in the New York Times:

The Symbologist

By KATHRYN HARRISON
Published: December 3, 2009

From 1914 until 1930, C. G. Jung recorded, revised, rewrote, recopied and painstakingly illustrated what he considered “the numinous beginning” from which all the rest of his work derived. “The Red Book,” or as Jung called it, “Liber Novus,” consisted of some 200 parchment pages of meticulous calligraphy and visionary paintings collected into a huge folio bound in red leather. While its content, either whole or in part, was made available to a handful of colleagues and patients, its publication was postponed until now, nearly 50 years after his death, because Jung feared the book’s potential impact on his reputation. After all, anyone who read it might conclude what Jung himself first suspected: that the great doctor had lost his mind.

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Practicing “active imagination,” Jung conjured characters with whom he interacted and conversed. Dreams, he felt, were “inferior expressions of unconscious content” because there was less tension in sleep. “The Red Book” “faithfully transcribed” visions Jung recorded privately in his “Black Books,” adding commentary and painting what he had seen in his waking dreams to encourage readers to “understand the psychological nature of symbolism” and challenge them “to a new way of looking at their souls.” The whole is structured after Nietzsche’s “Thus Spoke Zarathustra,” a work of great influence on Jung. But while Nietzsche had announced the death of God, “The Red Book” described “the rebirth of God in the soul,” drawing from many and varied sources, including the Bible, the Apocrypha, Gnostic texts, Greek myths, the Upanishads, the ancient Egyptian “Am-Tuat,” Wagner’s “Ring,” Goethe’s “Faust” and Dante’s “Divine Comedy.” And, as Shamdasani points out, although the writers on whom Jung drew “could utilize an established cosmology, ‘Liber Novus’ is an attempt to shape an individual cosmology.” Jung continued to practice while working on “The Red Book” and encouraged his analysands to summon and record their own visions, as he had done. The book a patient created would be, he said, “your church — your cathedral — the silent places of your spirit where you will find renewal.”

In fact, reading “The Red Book” is like visiting a foreign place of worship. To understand Jung’s text — to meet and listen to the creatures of his unconscious — requires solitude, silence, concentrated effort. At the beginning of the book (which is divided into “Liber Primus,” “Liber Secundus” and “Scrutinies”), Jung rediscovers his soul, alienated while he “had served the spirit of the time.” With it, he embarks on a series of adventures and meets, among others, Elijah, Salome, a serpent and the Devil. The narrative proceeds like a blend of biblical prophecy and dialectic ...

The article includes a nice image of the open volume. I wonder if I can finagle a review copy.