The Sea Priestess was the first of Fortune’s novels for which she was unable to find a publisher. The novel was self-published in 1938 by the author, bearing no publishing house imprint. Unlike her previous novels The Demon Lover, The Winged Bull, and The Goat-Foot God, The Sea Priestess did not feature any art on its dust cover; instead, the plain brown paper (likely chosen for its economy) bears a passage of text written by Fortune: The Sea Priestess is a fictional representation of the sephiroth Yesod, which in Fortune’s system of occult kabbalah is the sphere of the imagination and the foundation of initiation. In The Sea Priestess, initiation is presented as a form of gnosis that is achieved through active imagination. In this chapter I will explore the importance of imagination for initiation in Fortune’s work. I will show that, in The Sea Priestess, Fortune presents imagination as a vehicle for communication with higher beings and other worlds, as well as something that could lead to real-world transformations. By describing the process of creating a magical image, Fortune gave her readers instructions on how to create their own imaginative vehicle for the manifestation of an initiating force. I will argue that art is presented in the novel as a form of imaginative co-creation with the potential to catalyse initiatory experience relative to the emotional investment of its participants.