In an interview with Deonna Kelli Sayed, Knight remarks that his Al-Najm chapter is “possibly the most heretical, blasphemous, challenging stuff that I’ve ever written. I don’t spare any of the details”. And that is true: the visionary episodes are sexually explicit, and put an intensely personal spin on traditional Islamic myth and imagery. In other words, the entire healing process would seem to happens on Dinobot Island, through a remarkable collaboration between Santo Daime’s Queen of the Forest and the Islamic Daughter of the Prophet - bien étonnés, no doubt, de se trouver ensemble... And yet, in the same interview, Knight continues by noting that the experience “leads me to this somewhat conservative place, because where I’m at right now, I pretty much just want to read hadith all day”.
Perhaps this will prove to be just a phase in Knight’s continuing story. But then again, he might well be in the process of leaving Dinobot Island, with Fatima’s help: “You can deconstruct Islam, but at some point you have to put it back together. Get your readings grounded in something” (p. 7). In what? The answer seems clear: Knight finds it in an intensely personal experience of divinity, or gnosis, mediated or facilitated by a “tradition”, with all the stories and images that it can provide. He does not find it in the intellectual practice of Quranic exegesis, so attractive and seductive “for the boys” (p. 224, 226, 238), but in a direct encounter with divine Otherness - with a presence, in other words, that is so different from his own identity that it can speak to that identity with unquestionable power and authority. Tripping with Allah may be all about Islam, Drugs, and Writing - but first and foremost, I would suggest, it is a primary source of Islamic mysticism.