A bit silly really.
I mean, one can excuse the pagan gender essentialism, the Terence Mckenna psychedelia, the Eurocentric reading of human history, the sense you're being lectured deep into the wee hours by Michael Caine's Children of Men character, but then, you can't excuse forever and ever and ever...
During the sex scene I was waiting for some inevitable qualification to the idea of transcendent male and female 'principles', the former one of penetrating (the wand) and the latter one of receiving (the cup), but none was forthcoming, save for the remark that these principles shouldn't be reduced to physical sex but are rather cosmic, which does not suffice. As a means of social as well as biological reproduction, sexual activity in a variety of forms has been important for human beings and other animals throughout their history. Sexual behaviour thus involves much more than the heterosexual penis-in-vagina form alone, which Moore seems to elevate to a cosmic principle. If this reflects more the position of the magician character who makes these statements than the ideas of Moore himself, there is no critical voice in the story to make this divergence evident. If it can be proven that the long-haired magician having tantric sex with his much younger female student isn't a fantasy-projection of Alan Moore himself, then the book deserves less fierce criticism, but not by much. It's just a story, of course, but since Promethea is such a didactic work, it's legitimate to criticise the ideas in it for being wrong, I think. But in addition to being wrong, the cosmic gender ideology is just drab and hokey. In a series which is all about the power of the human imagination, that power is not best advertised by a flight of fantasy which nonetheless repeats the sex-essentialist and heteronormative ideas we are all too familiar with. Which gets to a more fundamental point: the imagination is, at the end of the day, a human faculty without inevitably good or bad political outcomes. The Nazis themselves were not averse to the occult, which Moore doesn't mention because he needs to represent fascism as an excess of modern materialism in contradiction with the spiritual. As a tool, imagination can be revolutionary, reactionary, or - as here - just boring.