Magickal Traditions Hidden In the Mundane

  It’s really rather pleasantly shocking how many customs with pagan or magickal roots are tucked amongst the seemingly Christian holiday season cheer. Indeed the entire premise of the Christmas holiday is deeply indebted to the ancient polytheistic festivals which could never quite be stamped out. And with mainstream Christmas upon us, I thought we might take a quick look at the continuing magickal trends you might not have noticed going on today and indeed throughout the holiday season and into the New Year ahead.

  This Christmas, the story of the birth of the Christian semi-god Jesus Christ will be reenacted in churches and schools all over the world as part of the Nativity play. But did you know that this classic tale is actually a re-working of an even older myth concerning the Eastern deity Mithras, who also had a birthday on December 25th? The Apostle Paul, who’s version of the birth of Christ is the most heavily relied upon for the traditional Christmas story, hailed from Ephesus- a center of worship for Mithras in the later Roman Empire. His writing was highly influenced by his surroundings and thus incorporated several of the elements of the Mithras cult and birth story into his telling; including both the idea of the virgin birth and visit of the three wise men to his birth site (in a cave vs. a stable). Indeed it is likely that the early church fathers cast Jesus’s birthday in the winter to take advantage of the pre- pagan winter festivities in the first place.

  The Eastern Star associated with the Nativity story, and its derivative decorative value over the holidays is likewise an element of older cults which was refashioned to suit monotheistic needs. Intriguingly, some of its greatest usage is attached to ancient mother goddess cults, including that of the goddess Asherah: the oft forgotten wife of the god Yahweh ~ the original version of the Jewish, Christian, and Muslim God celebrated on Christmas. Many other nature symbols, like snowflakes and poinsettias, which are also associated with the holidays were likewise used in older pagan cults. None more so than mistletoe. Added into the Christmas mythos through its Germanic and Norse usage during winter festivals, it is linked inevitably to the Norse gods through its appearance in the myth of Baldr, the dying god of Viking myth. Following a prophecy detailing Baldr’s impending death, his mother extracts promises from all of the plants and creatures of the world but forgets about the lowly mistletoe tucked up in the oak trees. And so when the mistletoe is unwittingly tricked into stinging Baldr at the behest of the trickster god Loki, the sting is fatal and Baldr is committed to the Afterlife until the end of the world (Ragnarok) when he will emerge to lead the new world order. The theme of the dying god appears over and over again throughout world mythology, indeed the story of Jesus Christ itself represents a ‘dying god’ myth. The re-use of mistletoe as part of the Christmas festival is therefore most fitting indeed.

  Also stemming from northern European pagan traditions are the Yule log and Christmas ornaments. The giant Yule log was traditionally chosen to be burned on the Winter Solstice, the darkest and longest night of the year. The cheerful fire of the long burning log was intended to ward off the evil spirits that lurked in the dark. Families would gather together on this dark night both in fear of the darkness and in celebration of the upcoming new year ahead. The winter holidays were highly important in the pre-scientific world. In a time where you cannot fathom the astrological and natural reasoning behind the turning of the seasons, when all the plants die and the weather gets bad ~ you want to do everything you can to encourage a better season to come round.


  Christmas ornaments, however, are perhaps the most gory of modern holiday traditions. Rumor has it that Germanic warriors would hang the heads and saddle gear of conquered foes on trees near their residence as trophies of their battle. These dark prizes eventually transitioned into more metaphorical baubles which in turn were placed on the first famous Christmas trees popularized by the Germanic Prince Albert at the court of Queen Victoria in nineteenth century England. Decorated vegetation was not however limited to Northern European traditions, decorated boughs of a variety of plants were common features of ancient Roman and Greek festivals, and were intended to both encourage the future bounty of the crops and protect the house from evil spirits.

  Other household holiday decorations possess further overlooked magickal significance. Have you ever noticed how many anthropomorphic figures there are around Christmastime? Gingerbread men, snowmen, figurines of angels, the nativity characters and Santa and his crew: there are hundreds of thousands of little simulacra of people associated with the holidays. And while such representations of humanity may seem commonplace in today’s society, for thousands of years and indeed still in some cultures such things were and are forboden. From the ancient so-called Venus figurines of prehistoric Europe to the statues of the classical world, the recreation of the human form was considered sacred and powerful. Perhaps the most well known remnant of this concept are the voodoo dolls of Santeria and other Afro-Caribbean traditions. Their Christmas cousins may be just as powerful. From the helpful elf who watches over children’s good behavior to the angels atop the tree: these personifications of the human soul and spirit are no less powerful if one chooses to believe in them.

  And finally, let us consider the concept of the infamous Santa Claus himself. The story of Santa is ripe with magickal elements. Ultimately, he is a semi-deity who lives in a magickal dimension on the northern fringes of the human world accompanied by a bevy of miraculous toy-making beings and flying creatures. And though the tradition of Santa is not very old in and of itself, the idea of powerful house spirits who bear gifts and good fortune goes back to the very beginning of time in almost every culture. In some cultures, particularly in Eastern Europe and Japan, these house spirits are still widely venerated in the modern world.

  Ultimately, though Christmas is a monotheistic holiday. Its modern celebration is chock full of symbolism and traditions which hearken back to earlier times and brighter pagan customs. One needs only look closer to find them and celebrate their wonder.

  The black bags of Jordan are not simply bags. They are a practical device which also wards off evil spirits and bad intentions. They are modern pieces of protection magick practiced by a living culture.

  Local superstition holds that if someone were to see what you had purchased (i.e. if you were just carrying it around or used a more see-through type of bag), their envious Evil Eye could curse your purchase. And so when you went to drink your soda or use your shampoo, the bad luck cast upon the item would transfer onto you for having utilized it. The black bag keeps your purchases secret, safe from the nefarious Evil Eye which so haunts the Eastern Mediterranean imagination and customs.

The Evil Eye of the Eastern Meditterean is typically symbolized by a light blue eye emblazoned onto darker blue glass. Evil Eye amulets are worn on one's person and hung round businesses and homes to deflect any envious Evil Eye energy which might be cast at them by jealous neighbors. Here, in this Curious Expeditions photo, Evil Eye amulets are hung from the boughs of a tree to cast a wider net of protection magick. Like the black bags of Jordan, the Evil Eye pendant is a form of warding protection magick.

  It’s bad enough when You use the cursed object, but its deemed particularly bad form in Jordanian culture to pass on any jinxed purchases. And thus, when you present a gift to your friends, neighbors, or in the case of this past season: your local awesome Department of Antiquities representative; you promptly hand over your gift still in its black bag, and just after you enter their home but before you are introduced to the rest of the household in the ubiquitous social room of their house. The black bag keeps the evil energy of onlookers at bay while outside, but once inside, a quick opening of the present at the doorway is still necessary, lest other guests watch you unwrap the gift and curse it in the tiny window remaining before ownership is firmly transferred.

  The formality of the black bag social customs initially struck me as quite a deliciously bizarre facet of modern Jordanian culture. But then it occurred to me that really, western culture is no different. We just wrap our presents in much more expense, even more highly stylized formats. Birthdays and the long list of fabulous winter holidays up for celebration (we do them all in my family) are not complete without some well-wrapped presents. And while much of the importance of the wrapping is placed on the idea of keeping the gift a surprise, realistically: the tradition of and psychology behind wrapping gifts is literally all wrapped up (pardon the pun) in that same idea of controlling the kinds of thought focused onto the gift. Once its unwrapped, the gift is open to all kinds of judgment: from the recipient and from those at the unwrapping. Let’s face it, it’s hard not to immediately judge a gift once given: Was it the right gift for that person? Did the recipient give an equally appropriate gift back to the giver or did they spend more or less money on their gift? Isn’t that just like what so and so got for such and such? All of these swarms of thoughts are out there, presumably affecting the now naked gift. It makes sense to keep it under wraps for as long as possible, just to keep all the potentially negative energies at bay.

  It is almost conceivable that the brightly colored, intricate wrapping paper which is used for gifts in the western world adds some good energy to the gift. In such situations where ‘it’s the thought that counts,’ surely a thought that comes with spangly, glittering wrapping paper and bows counts a bit more. Be it stupidly expensive designer wrapping paper or cleverly done up comic books (hipster style!): that bit of extra energy that goes into a lovely wrapping job, that extra dollop of creative good will may well be a form of psychological magick in and of itself. Not only does it feel good to give beautifully looking gifts, it feels good to get them. If the energy of the gift can be altered by the wrapping, it makes sense that the joy of a well-wrapped, well intentioned gift would invoke good energy just as much as it protects against the envious Evil Eye.

Wrap your gifts in spaces filled with light, good energy, and love. Make the wrapping a happy occasion, a personally pleasing ritual. If you are enjoying your wrapping, chances are the energy you're passing into your wrapping and therefore into your presents will benefit just as much!

  So ladies and gentleman, bust out your mini-baubles, your ribbon fringers, your fancy labels, and colored tape. And send out positive energy as you wrap your presents this holiday season. It adds a little bit more magick to every gift you give!

P.S. It’s good to be back in the states (and with working internet!) More blogs on the past few months of archaeology and anthropology-tastic travel, as well as a slew of holiday topics and History of Witches in the Western World promos coming soon! So watch this space! xxx

Often used for protection against the “evil eye”, evil spells, sickness and even in ancient times against witches, a witch ball can be not only a useful tool but a beautiful addition to a garden or home!

There are many legends surrounding the Witch’s Ball but most agree that the vibrant colors which swirl together almost magickally in the glass attract harmful energies into it, protecting the home or person who has placed it from that harm.

Witch Balls have been very popular since around the 18th century. First in England, then following into the “new world” and New England, but their actual origin is generally considered to be older.  For what may be well over 3 centuries, hollow glass spheres have been hung in windows to ward off bad luck, witch’s spells and evil spirits.  Hanging these decorative glass balls in the window or on the porch is said to tantalize and mesmerize mischievous spirits which may threaten tranquility and peace within a home.  When the spirit touches the sphere it is absorbed and trapped in the web-like strands of the glass inside the ball.

Autumn Fantasy Spirit Tree

Witch Balls can range in size from 2 inches to up to 7 inches in diameter.  Crystal gazers sometimes claimed they used balls in which the spirits of dead souls had been banished.  Which then, the seer was thought to be dealing with spirits.

Over time, as if often the case, the philosophy of what a Witch Ball is and should be has changed and number artists over the years have altered the Witch Ball to include vibrant colors, strands inside, twisting patterns and shape.  These new patterns and colors are beautiful to behold, graceful in a garden and can be used to protect the inhabitants of a garden and even draw in Faerie influence with the bright and delightful colors.

In my own home, I have several Witch Balls which serve as reinforcements of peace and tranquility in my home.  Downstairs on the patio I have a beautiful orb of violet and grass green with one of beautiful shades of Cobalt and Sky blues in a leafy holder on my desk upstairs.

Over the years my collection has grown through gifts and my own purchases to include a lovely orange and yellow globe much like the one pictured above (which is on my wishlist as I love the ‘tree’ design on the inside) to having just ordered one for Samhain in the most lovely shades of Black and Orange to decorate outside with!

Through the Veil Samhain Witch Ball

  Over the past week, millions of Potter fans bravely bid farewell to the final film of one of the most-record breaking franchises ever created. The new greatest story ever told, the legend of Harry Potter touched the world: defying age-barriers, nationalities, and religious conventions (Beach & Wilner 2002; Black 2003; Radigan 2001). It encouraged generations of children believed lost to the digital age to pick up books and read again. It encouraged them to use their imagination and believe in something more than the mundane. And most importantly in the context of this discussion, it challenged the world’s preconception of magick and magickal societies: evoking an unprecedented era of awareness and tolerance for occult paths.

  You may not have even realized that such a quiet revolution occurred, or even how extremely significant it is from an anthropological perspective. Yes, the past century has been a springboard for magickal faiths to take root, but never have magickal communities been as mainstream as they are at the moment. Numerous other supernatural pop culture venues from the classics like So I Married a Witch, Bewitched, and Bell Book and Candle to the more recent Charmed, laid significant groundwork for magickal tolerance. But it was Harry Potter who dashed boldly down the path they had laid out, entertainingly making the masses positively aware of the magickal cultures which have hitherto fore had to lurk in the shadows of typical every day society.

  Centuries ago, the word ‘witch’ was a condemnation. Twenty years ago, claiming the title ‘witch’ would still have the neighbors worried. But in the present day, the word ‘witch’ conjures up a multitude of more pleasant images and associations to the everyday laymen than ever before. And much of this shift is due to the ever-present popularity and acceptance of Harry Potter. Magickal terminology, once only known to those few in the world population engaged in occult studies is now commonplace. Again, courtesy in large part to Harry Potter ~whose familiar use of words like ‘charm,’ ‘divination,’ and ‘griffin’ (to name just a few) has increased the vocabulary of millions. Children grow up appreciating the idea of magick and the possibility of sorcery, rather than fearing it. They come to learn of the balance between light and dark not from dogmatic condemnations of the church, but from the saga of Harry. Children no longer dress as the witch- hag as a scary Halloween costume. Instead they dress as witch scholars: as students of the magickal school Hogwarts ~hoping to be trained in the magickal arts. Indeed, Harry Potter has encouraged not just positive awareness of the occult, but positive awareness of learning in general (Beaton 2006).

  No, admittedly Harry Potter has not accurately explored the magickal world of real-life Witches, Wiccans, Druids, or Neo-Pagans and their brethren. But the mythical magickal world it did explore provided a safe fantasy backdrop for mankind to begin to understand the purpose and functions of magick. Or at least to start believing in it, outside of the realm of superstition which has plagued the occult arts for millennia. Indeed those instances of right-wing disapproval from Christian conservatives and Muslim states ultimately only validated the idea of a belief in magick. For it was the type of sorcery practiced in the pages of Harry Potter, not the existence of magick itself which was at the heart of the majority of these debates (DeMitchell & Carney 2005; Hill 1999; Hill 2001; Kruk 2005). Harry Potter ushered in a new, more open age of man and womankind. One where the mysterious ‘other’ which magick has long represented is not feared and hidden away or dismissed as unbelievable, but is instead something in the public eye and which is accepted by all but the remaining, and ever decreasing number of conservative groups who ignorantly equate magickal practice with devil-worship.

  The shifting morals and scientific explorations of our time allow for tolerant investigation into questions of the mind, physics, and the natural world which have long been relegated to the realm of myth and defined as magick. Science, by any other name, is magick that has been more thoroughly explored than ever before (indeed, this was a much emphasized facet of the other magickal blockbuster of this summer: Paramount’s Thor). As we learned last week in Witches of Antiquity: The Magick of Alchemy ~ the initial Scientific Revolution was the result of magickal investigation and the two are intrinsically tied together. The only thing that has changed is the understanding of the terminology: which skeptically divided science from magick as it attempted to commonsensically divorce science from religion.

  The word ‘witch,’ too, has come a long way and meant many things throughout its usage. But with the worldwide familiarity of Harry Potter and the general acceptance for the witchcraft practiced therein, ‘Witch’ is no longer a word associated with fear and loathing. Now is a remarkable time to claim the title of witch, for it is the first in which it is culturally accepted and encouraged. And while some may worry that such openness may be dangerous to their craft, consider this: Harry Potter stringently emphasizes the idea of a magickal education before one can practice magick. It urges against the uninitiated blundering in or anyone ever taking up the Dark Arts. J.K. Rowling subtly points out that knowledge is power ~ Hermione (pictured at left) is proof positive of this ~ and is necessary before one delves deeper into magickal endeavors. And so while perhaps mainstream magick may mean that there are many more practitioners, they have already been cautioned via Harry Potter against ignorant use of magick; of following the darker paths; and they have been instructed to learn as much as they can. And really, are these not among some of the best tips which can be given to beginner witches?

Do you feel that Harry Potter positively or negatively impacted the real magickal community?

Are you a Potter fan? How do you feel about the new, latest and last movie in the saga?

Partial Bibliography

Beach, S.A. and Willner, E.H., 2002. The Power of Harry Potter: the Impact of J.K. Rowling’s Harry Potter Books on Young Readers. World Literature Today. 76(1), 102-106.

Beaton, T., 2006. Taking Time: Harry Potter as a Context for Interdisciplinary Studies. The English Journal 95(3), 100-103.

Black, S., 2003. Harry Potter: A Prescription for just about Anyone. Journal of Adult and Adolescent Literacy 46(7), 540-544.

Carney, J.J. and DeMitchell, T.A. 2005. Harry Potter and the Public Library. Phi Delta Kappan 87(2).

Hill, R., 2001. Potter’s Darker Side. Fortnight. 401, 22-23.

Hill, N., 1999. Harry Potter and Other Evils, or How to Read from the Right. The Personalist Forum 15(2), 413-423.

Kruk, R., 2005. Harry Potter in the Gulf: Contemporary Islam and the Occult. British Journal of Middle Eastern Studies. 32(1), 47-73.

Radigan, W.M., 2001. Connecting the Generations: Memory, Magic, and Harry Potter. Journal of Adolescent and Adult Literacy, 44(8).

  Alchemy is by no means a unified discipline. There is not codified set of facts which one would learn in order to become an alchemist. Alchemy was more a spiritual and educational pursuit than it was a strict science of any uniform kind.

  True, alchemists gleaned their knowledge from studying the works of their predecessors and being mentored by them. True, also, that some universities included forms of alchemy amongst their curriculum. Brotherhoods of scholars interested in esoteric learning formed, and among their subjects was alchemy. But despite these forms of learning, none of these men and women were necessarily learning the same curriculum. Even with the advent of the printing press, not all the books on alchemy were disseminated by each alchemist, nor were all the branches of alchemy studied by every practitioner. Each alchemist had his own agenda: using alchemy variously to heal, to make gold, or to find youth. Alchemy was an intellectual movement that walked in different spheres of life, spanning the society of its times. By the Seventeenth century, it connected the fraudulent drunk on the streets with the scholars of the university; the highest echelons of late Renaissance society at the royal court with the witch on the pyre: all with a common philosophical idea which worked towards a variety of their purposes.

  Indeed, alchemy operated much like the study of magick today perpetuates itself. Witches, wiccans, and pagans alike are deeply devoted to a pursuit of learning esoteric knowledge, but not everyone from each path chooses to learn the same thing. It is ultimately a personal quest, a search for knowledge in order to achieve a personal transformation.

Alchemy as a Science

  Before we delve deeper into the more easily recognized esoteric accolades of this lost art: let us look at the more scientific side of alchemy, of alchemy as a system of trial and error which was propagated in the universities of the time and by some of its greatest academics. Alchemy was a precursor to the science which we recognize today as fact. And though science may seem the antithesis of magick, they are really just part and parcel of the same thing.

  Initially, alchemical knowledge was collected informally and without passing through the conventional educational institutions which had sprung up in Europe since the Dark Ages. Paracelsus, sometimes considered the greatest alchemist of the Renaissance, never completed his university studies. He collected his alchemist’s secrets by travelling and observing folk remedies he combined with metallurgical practices. But with science’s new interest in the idea of a scientific method, which alchemy was already utilizing: alchemy became employed by some of the greatest minds of the time, at some of the greatest of the universities. In fact, the two great libraries, the Bodleian at Oxford and the Ashmolean at Cambridge respectively, were based off of the alchemical collections of Duke Humphrey and Elias Ashmole. Even the great Sir Isaac Newton is considered an alchemist for his research into ancient Egyptian hermeticists and through later connections made by alchemical groups like the Rosicrucians. But he also saw the science in alchemy and used some aspects of his laboratories at Cambridge University to study it. Sir Fancis Bacon is likewise called an alchemist for his association with esoteric societies, like the Rosicrucians and Freemasons and his literary endeavor The Masque of the Middle Temple and Lincoln’s Inn, which he wrote in honor of the marriage between Frederick V of the Rhineland Palatinate and Elizabeth, daughter of James I of England, who, incidentally were all also wrapped up in alchemical studies of very differing kinds. Bacon’s works set up the Baconian method that we today know vernacularly as the aforementioned ‘scientific method.’ Robert Boyle, the father of modern chemistry, began his education as an alchemist; though did not continue to teach alchemy once he himself became a professor.

  Outside of England, particularly in the Northern and Central areas of mainland Europe, alchemy was also finding a niche among scholars. The Danish antiquarian Doctor Ole Worm was given papal permission to collect so-called oddities, which came to include various texts and items of a magickal nature, later inspiring H.P. Lovecraft to include him in his twentieth century work Necronomicron. Some were not so lucky in support for the new science, like Theodore Zwinger, ~a professor of medicine at the University of Basel was penalized by the University for inclusions in his teachings work done by Paracelsus. But unlike the University of Basel, others, like the Jagiellonian University in Krakow. championed alchemy and supported multiple alchemists on its faculty and taught alchemical methodology in its classes on chemistry and anatomy.

  The leading doctors, the mathematicians and physicists of the day; all studied the ratios of alchemy and its history out of Egypt, Greece, and Rome. The scientific method alchemy had long been unintentionally advocating became recognized as the basis for all modern experimentation and creation. The study of alchemy in schools or independently by professors of these schools working outside their professional capacity helped shape the minds of generations of men and women, leading up to the modern science of today.

Alchemists devised erudite languages and symbolism through which they could communicate their meanings safe from the prying eyes of the unintiated. Above is an allegorical alchemists image outlining a potential route to communicate with the spirits. The archetypal symbol language begun by the alchemists would eventually be standardized and utilized most famously by A.E. Waite and Pamela Colman Smith in their creation of the Rider-Waite tarot deck, the basis for the majority of modern tarot decks.

Alchemy & The Witch Hunts

  Despite this flourishing of alchemy among academia, it was a subject best approached with care. By the sixteenth century, some elements of alchemy’s esoteric studies had unfortunately come to be associated with the dark arts of witch craft and sorcery. The logic of the Burning Times decreed that how else would these men and women know the secrets of the universe unless the devil himself had whispered them into alchemist’s ears? Alchemists devised erudite languages and metaphors to transcribe their secrets in, ones they hoped that would not create alarm among their witch hunting neighbors. But they were not always successful and some alchemists were branded witches and sorcerers for their naïve scholarly endeavors. And many were persecuted alongside the wisewomen, innocents, and political victims who fell prey to the Witch Trials or Burning Times of the 16th and 17th centuries. Bookmakers who published grimores of alchemy were particularly susceptible and often had to move towns to avoid an uprising against their shops.

  The mighty Catholic Church was particularly skeptical of the new alchemical sciences that were springing up. For they threatened previously held notions of God and man and their relationship to the universe, which in turn threatened the church’s power. And if alchemists weren’t careful to make provisions for the Church’s scrutiny, they faced severe consequences. Sir Isaac Newton cleverly combined church sanctioned theology with his science, for instance, to explain his theory of gravity, Newton wrote, “Gravity explains the motions of the planets, but it cannot explain who set the planets in motion. God governs all things and knows all that is or can be done.” He justified his science in the eyes of the church, but others were not so clever or else refused to concede. The scholar Giordano Bruno was sentenced to burn at the stake for refusing to recant his alchemy-based theories regarding ideas about the transmutation of the soul and the transubstantiation of the Catholic Mass. He was charged with the practices of divination and witchcraft, both of which had technically been outlawed under church law since the ratification of church doctrine at the Council of Nicea in the 4th century in continuation of earlier Roman laws. However, until the Burning Times, few cases were executed under such charges.

  While many of the alchemists charged for witchcraft during the Burning Times may never have actually practiced direct magickal acts (only studied magickal/scientific topics), others most likely did engage in acts some might call Dark Arts. Giordano Bruno and his one-time mentor the British royal advisor John Dee may have darker and more occult areas of alchemy. Often these pursuits focused on communication between the spirits and bordered on necromancy. Dee was at one point kicked out of Prague by Pope Sixtus V for committing acts of black magic in the city.

  Along with these Dark Arts and the politically motivated Church persecution, alchemy earned an even worse reputation from the slew of fraudulent schemers who pretended to be alchemists to con people out of money and goods. These faux-alchemists would practice simple chemical tricks, rigged to make it appear they could produce gold out of charcoal or other such feats to trick wealthy and gullible lords out of money. This was such a widespread stigma of the day that Dante Aligheri immortalized it in his social commentary of the day, The Divine Comedy, by placing the alchemists on the tenth level of Hell in his Inferno.

Alchemy in Power

  Despite the stigma attached to alchemy, there are many historical instances of European princes, kings, and queens participating and encouraging alchemy from both ends of the spectrum (i.e. as a science and as magic). Many rulers had alchemists as their advisors or as their doctors. Johann Friedrich Helvetius was the personal physician to William of Orange of the Netherlands, Johann Joachim Becher to Leopold I of Austria, Ole Worm to the skeptic Holy Roman Emperor Christian IV, and his predecessor Rudolph II went through a whole series of doctors with an alchemy sideline. Rudolph also utilized alchemists as his advisors, most notably, that king among alchemists, Michael Maier. Maier also spent some time at the court of James I of England. Queen Elizabeth II depended on her spy John Dee. And according to the social commentary inherent in the theatre of the day, James I of England (VI of Scotland) kept three alchemist witches as military advisors. These ‘advisors’ and James’ interest in the occult were included in Shakespeare’s Macbeth and Holinshead histories.

  Some rulers went beyond their advice and medical attention and are suspected by historians of studying alchemy themselves. The Holy Roman Emperor Maximilian I personally ransacked a Benedictine archive in Rome looking for an ancient treatise on alchemy believed to be hidden within. Queen Barbara, the wife of Sigismund Vasa III of Poland is accused by history of being not only an alchemist, but a witch. James I of England and Rudolf II of Hungary delved deep into the arcane as rulers and alchemists. James I of England wrote his own Daemonologie in 1597, a witch-hunter’s guide written by a man perhaps too close to his subject to be perfectly free of the taint of magick. He was careful to lightly persecute others in his realm suspected of witchcraft and the like to avoid church persecution himself (though as leader of the aforementioned church, it was easy to get away with). The Holy Roman Emperor Rudolph II set up a veritable playland for alchemists and other scientists of the day, which included an observatory, various labs, and libraries of grimoires. He himself was said to participate in alchemical experiments and work closely within the commune of scholars he had collected. His personal goal was to find the Philosopher’s Stone, a stone which, once created, would continue to spill forth an elixir of youth and the ability to turn things into gold.

  We cannot really know today just how much the alchemists and the philosophy of alchemy had on the rulers of this time period, or of how much their appreciation of what this arcane subject influenced their judgments and rulings over their respective countries. Nor can we really know what was known by the public at the time regarding the alchemy activities related above, or if they would have even wanted to know. All of these leaders made allowances for church dogma in order to avoid persecution. But were they actually religious beyond this façade? It is difficult for the historian to know or even to judge correctly. Regardless, we can at least state that alchemy must have had at least some influence over them.

The famous and mysterious1888 Flammarion engraving from Camille Flammarion’s L’Atmosphere: Meteorologie Populaire, depicts a man crawling under the edge of the visible sky and encountering a world beyond it. It epitomizes the educational quest of the alchemist, who is ever seeking beyond what they can see to know more about what lies beyond.

  The history of alchemy is representative of a myriad of magickal movements and motivations. It is symbolic of both the persecution of magick and the championship of it. It represents both the veracity of knowledge gained and of the deception man is capable of using such knowledge for. It embodies the advancement of the human mind and the human race, of our wonder for the mysterious, and our quest to discover and control the laws of nature and the gods. The use of alchemy, pseudo-science that it may be considered now, encouraged the growth of other sciences still seen as legitimate. It inspired advancements in other fields, seeing the growth of library science in the modern age, and was the muse for multiple works of widely regarded literature. It was a profound step on man and woman-kind’s journey towards enlightenment. And it and its alchemists should not be forgotten. For we today are their descendents. The research scientists in labs, the doctors, pharmacists and nurses in their hospitals, the astronomers looking up at the night sky, the chefs in their kitchen, the students at their books: in our desire to learn something more, we are all alchemists.

  Want to learn more about historical magickal movements and the witches behind them? Keep your eyes peeled for History of Witches in the Western World, a new class from the College of the Sacred Mists on the Witches of Antiquity. Coming later this year!

Partial Bibliography

Cobb, C. & Goldwhite, H. 1995. Creations of Fire: Chemistry’s Lively History from Alchemy to the Atomic Age. New York: Plenum Press.

Fernando, D. 1998. Alchemy: An Illustrated A-Z. New York: Sterling Publishing Co., Inc.

Moran, B.T. 2005. Distilling Knowledge: Alchemy, Chemistry, and the Scientific Revolution. Cambridge, MA: Harvard University Press.

Rice University. The Galileo Project.

Note: Image at top is William Fettes Douglas’ The Alchemist (1853).

  Somebody happened to call me a “mythic creature” on Friday; and it has stuck with me all weekend.

  In context, it was a rather mundane and flippant figure of speech. One of the engineers in the digital archaeology lab I’ve just started at was merely elaborating on how rare it was to have one of the researchers in the lab for the full creative process. As a user of the technology verses a creator of it, he was basically saying that it was a novel concept to have my input at this stage of development. Really, it was a compliment of sorts (I hope). But it was more his turn of phrase that caught my attention. And rapidly pulled me from my everyday work, into the magickal realm I share here with all of you at Sacred Mists. Down the rabbit hole, as it were.

  My initial visualization of my possession of the label ‘mythic creature’ had much to do with the addition of faerie wings trying to fit round my desk chair and a unicorn’s horn sprouting from my forehead. Eventually, however, my meandering daydreams wandered away from the specific image of me as a mythic creature in the engineering lab; and more to do with just the idea of the mythic creature in the lab or office: Pegasus flying past the window, sprites floating in the water cooler, satyrs bounding off the elevator, and the like. The magick seeping through the mundane.

  Really, however, if one has been paying close attention to the faerie tales of childhood and, indeed, of world mythology: that is exactly how these mythic creatures present themselves. Out of the corner of your eye, there is a little something extra that you can spot for an instant and then is gone. In faerie tales: it may be a meeting with an elderly woman in the woods who you politely shared your bread with (thus earning the power to spit up jewels) or the spider you carried outside instead of smashing (and who later helped you succeed at a seemingly futile task). In faerie tales, and indeed perhaps in real life, the true encounters with mythic creatures are not ones you really pay that much attention to as a special encounter of any kind. The effects of the meeting may be felt; blessings given or mischief enacted (depending on the type of mythic creature), and one is left pondering the encounter, identifying what one can about what you saw, and extemporizing the rest to make sense of it ~ often fitting it into the known order of things in order to make it fit into one’s view of the world. More often than not, one might not realize that they’ve had such an encounter because they were not aware of what they were looking for and even if they saw something had no subconscious archetype against which to compare it. The Platonic archetypes extolled by the likes of Joseph Campbell and Carl Jung can often seem like vague generalizations, but they are worth knowing as reference points. It is, after all, easier to put together the jigsaw puzzle if one knows what the general picture is meant to be of. The meeting of the mythic with the mundane is where magick translates outside of anthropology and becomes a part of one’s life experience.

  I admit, that when not working on a project for the Sacred Mists, I often forget to look around me and see the magick in the world: the beauty and power that vibrates through everything; the wonder that I know I experienced as a child looking out at the world and knowing beyond a shadow of a doubt that magickal things could happen. The seemingly innocuous phrase ‘mythic creature’ woke me up. It made me LOOK. It made me SEE. It made me aware and appreciative. For this past weekend, at least.

  And while no, I have not spotted any landvaettir around my apartment, fey lurking in the shrubbery, or trolls under the freeway bridge: the part of me that steadfastly believes in the anthropological power of faerie tales maintains that they are there. They have just gotten very, very good at blending in. So much so, that when we see them or meet them, we probably don’t even realize what they really might be.

Mr. Tumnus takes the human Lucy deeper into Narnia in Pauline Baynes original drawings for the earlier editions of C.S. Lewis' The Lion, The Witch, and The Wardrobe.

  The power of seeing the mythic creature in the modern world can lead to marvelous things. Ever heard of a little place called Narnia? Narnia is a magickal realm full of myth and wonder that has provided children and adults alike with a refuge, despite its ultimately fictional nature. Its author C. S. Lewis reputedly first began creating the back-story for Narnia whilst riding on a train one snowy evening. Looking out at the town, a man carrying his shopping and an umbrella appeared to have the legs of a faun instead of those of a human. And thus Mr. Tumnus, the first Narnian was born. If you take nothing else away from C.S. Lewis’s masterpiece series the Chronicles of Narnia, take away the idea that great things come from using your imagination and seeing the magick in the mundane. From seeing the mythic creature in the modern world.

  Have you had any recent encounters you’ve realized were less than mundane? Are your bumblebees secretly faeries or your pool overrun with lorelei? Or did you open the door for a stranger or give a lost tourist directions and feel inexplicably blessed the rest of the day? Mythic creatures come in all shapes and forms. Let us know about your recent run-ins!

  And if you haven’t had any recent encounters with mythic creatures: go seek them out. Attempt an anthropological cum psychological experiment into your own awareness and find them in unlikely places. Find them at your office, in your home, or in the pages of a fairy tale you’ve long since given up~ those archetyes still speak to you, if you’re willing to listen, so give them another chance. And then report back here and share your experience with everyone else!

Image Credit: At the top is Mary Gow’s Fairy Tales.

A state of balance (or the lack thereof) has been a periodically intense part of my evolution and growth; when I have it, life itself seems effortless, and when I don’t have it, I seem to be surrounded by a brick wall stretching upward into the clouds, with footings deep in the earth below me. Why is it so easy for us to sense when we have balance, and why is it so difficult to attain if we don’t have it? My typical “language” for answering tough questions is the Tarot, and since this is a tough question, I pulled out several of my decks; here is what my cards told me about the concept of balance.

Both The Hanging Man and the Temperance card of the Major Arcana came to mind almost immediately; after all, the word “balance” is found in my keyword for each of these cards. But although both cards are a symbol or manifestation of balance, The Hanging Man is not Temperance; each card has a different feel to it. Could there be two versions of balance?

First, The Hanging Man. Besides balance, The Hanging Man is about voluntary and involuntary surrender; it is the archetype of sacrifice and initiation. The Hanging Man also corresponds to the element of Water, the planet Neptune, and the Hebrew letter Mem (which corresponds to Water, and stability and balance). It represents the Path between Hod (analysis, science and teaching) and Geburah (challenges, sacrifice and destruction, all of which release energy back into the system) on the Tree of Life.

The crossed legs of The Hanging Man represent the Cross of Hermes and this pose shows up on another Major Arcana card, The Emperor. This commonality reminds us that The Hanging Man, who has learned that surrender and sacrifice are the best tools, is in many ways the polar opposite of The Emperor. The Hanging Man also corresponds with The Fool, who seems to be surrendering to both the sun in the sky and the cliff beneath his feet as he commences his journey. The Hanging Man is also linked to the Death card, which is seen to be the next step after the voluntary surrender that brings his change of perspective, and The Moon card and illusion, another change of perspective.

The Hanging Man certainly values polar opposites, however it does not ask me to do anything with opposing forces but rather, to allow them to wash over me with the understanding that both comfort and discomfort have important places in my life. Many spiritual traditions teach us how to act, how to use intentions as a catalyst, and how to use our Will to manifest our goals; that is one side of the coin. A more difficult lesson to learn is that which shows us that those instances we most feel we want to control are the instances where we will be better served by surrendering. The cool thing about The Hanging Man is that he is not really hanging, he is balanced. By surrendering, he is in “suspension,” a state that can only be achieved by balancing opposing forces.

The Legacy of the Divine Hanging Man contains a symbol that illustrates this concept: an hourglass balanced on its side (the balance could not happen unless the hourglass was suspended with equal amounts of sand on each side). This is the kind of balance taught to us by our efforts to grow and evolve, for in order to practice our Craft well, we need to balance our focus between the inner world and the outer world, between receiving knowledge and sharing knowledge, between actively experiencing life and receiving glimpses of the workings of the Machinery of the Universe.

The Pearls of Wisdom Hanging Man represents cheerful sacrifice and surrender to the inevitable. It also refers to the deep emotional content buried in the subconscious mind that is made available to the conscious mind by the shock of altering perceptions. We are being told that despite feeling bound and restricted (or maybe because of those binds that restrict us), we are able to surrender to the entire event. We are emancipated from restrictions by surrendering to them, and we are freed from the fear of loss because we cannot act to prevent loss!

The Thoth Hanging Man seems to tell of waiting for something to happen, perhaps with a sense of fatalism arising from within (rather than from without, as portrayed by The Wheel of Fortune). It tells of the descent of Spirit into matter.

The Llewellyn Welsh Hanging Man tells of being detached and isolated, and reminds us that the silence of constraint brings deeper self-knowledge.

Out of the entire Tarot deck, The Hanging Man is the one card that represents true paradox. Think about it . . . who surrenders in order to win a battle? The Hanging Man does, and very effectively!

Next, the Temperance card. Temperance represents synergy, which is also a form of balance; it is the archetype of the union of opposites. Temperance corresponds with Fire, the mutable Fire sign of Sagittarius, and the Hebrew letter Samekh (the tent post or support). On the Tree of Life, Temperance is the Path between Yesod (the home of the self and the life force; the bridge between the physical and the non-physical) and Tiphareth (the hub of the creation process, where energies harmonize and focus in order to illuminate and clarify). Unlike The Hanging Man, which is not about accomplishments, the Temperance card teaches us to cope with many different projects at the same time; the energies of this card offer a sort of freedom from stress, rather than from ties that bind.

Temperance has a connection to The Tower, which is also a card of extremes, however the energies of The Tower are a direct result of an imbalance rather than the balance to be found in Temperance. The World/Universe is about the unity and synergy that can result from the balance of opposites that Temperance brings us, and The Sun is about the personal vitality, enlightenment and confidence that can be achieved through a disciplined application of that balance.

The cool thing about Temperance is that it promotes both balance and equilibrium, but it also tells us that in order to attain and understand balance, we need to experience and understand extremes. We need to not only learn about the insight, illumination and expansion of The Sun, but we must also contrive to experience these extremes in our own lives. Likewise, the sudden upheaval, chaos, humility and blow to the ego of The Tower must be both understood and personally experienced in order to receive the insights offered by its devastation. Most importantly, we need to learn by trial and error, or by experiencing both failure and success, for it is only through knowing and understanding both that we are able to refine our perceptions of our world, and reconcile and unite extremes together in order to form balance.

The Legacy of the Divine Temperance card tells us that balance is fond by making continual adjustments and by getting the mixture right. It also reminds us that our hardships make us stronger and more refined.

The Pearls of Wisdom Temperance card reminds us that the process of tempering is connected to alchemic processes, of science combining with mysticism, of the irreconcilable being reconciled, in order to offer a vision of a future transformation. The image on this version of Temperance is partially blurred, reminding us that the union of opposites presented by Temperance is a temporary state.

The Thoth Temperance card, named “Art” by Aleister Crowley, tells us to “transmute all wholly into the Image of thy Will, bringing each to its true token of Perfection.” Crowley sees this card as representing the arts of magick and alchemy, and actions that are based on accurate calculations.

The Llewellyn Welsh Temperance card tells of both moderation and adaptation, and grace under pressure; and it tells of being a survivor. Now, that is interesting.

Temperance is indeed quite different from The Hanging Man, even though they both profess to manifest balance. It appears that I have found my two sides of balance, an outer and active version, and an inner and receptive version.

You can experience the two sides to balance, too. Try balancing on one foot; you will experience the kind of balance to be found in the Temperance card. This is active balance, and it can only be achieved by the imposition of equal yet opposite forces (gravity, and the efforts of your muscles to counteract that gravity). Then remember the last time you put on a life vest and floated in the deep end of a pool or lake, allowing the breeze and the currents to gently carry you here and there. In surrendering to the effects of the elements, you just may have experienced a moment of serene balance that never would have come to you if you tried to actively paddle to your own intended destination.

Perhaps by understanding the two sides of balance, we will be better able to manifest balance within our lives. What kind of balance are you looking for today?

Sources:
Sacred Mists Degree Training
Sacred Mists Tarot Class
The LWB’s that come with the Gateway to the Divine Tarot, the Llewellyn Welsh Tarot, the Pearls of Wisdom Tarot, and the Thoth Tarot.

  Christians vs. Pagans. Need there be an on-going battle, or is there a middle road? It is a controversial subject for both sides of the fence. Christianity’s monotheistic focus and conservatism denies the power of paganism. And pagans, persecuted by the Church for centuries, are suspicious of the tenets of a faith which would deny them. It is a stand-off that has held for millennia.

  Christopaganism: An Inclusive Path by Joyce & River Higginbotham explores these two seemingly opposing religions and offers up a blended tradition to follow. Well organized, and full of competent historical detail (especially given that neither of the fabulous Higginbottom’s are historians), Christopaganism is an excellent starting point towards understanding the way the two faiths can work together.

  It is an especially useful text for those just beginning their investigations into pagan traditions and who are seeking a solid set of guidelines to follow and inspire them. The book’s instructional format and workbook assignments teach constructively and encourage open-minded thought and reflection on aspects of both religious cultures and one’s own personal spiritual development.

  As an introductory guide that allows readers to dip their toes in pagan culture without straying too far from Christianity, it is also an excellent choice for relatives and friends of pagans confused or scared by pagan traditions. Though written by lecturers entrenched in paganism, it presents its smooth blend of faiths in a method palatable to Christian mentalities. And it may well help assuage and open the minds of those Christian fundamentalists in your life: easing their concerns through a wider understanding of both traditions and their interactions. Indeed, compared to several other erudite and scholarly texts on the subject of the intermingling of Christianity and paganism, past and present, the lighter Christopaganism is arguably the best and most engaging introduction to the subject.

  However, if you are already familiar with the tenets of Christianity, the traditions of paganism, and the historical and philosophical intermingling of the two, this book might seem a bit simplistic. Though an excellent introduction and practical guidebook, its definitions of Christian and pagan practices are often simplistic and conveniently standardized to suit their arguments. Many of the gaps in doctrine which separate Christianity and paganism are glossed over in favor of unification theories. And its history lesson is basic at best, and rather generalized, particularly with regards to addressing the formation of Christianity from within a pagan culture. Readers seeking more of this history or a more complex understanding of the actual interplay between Christianity and paganism are better off with one of the more scholastic texts, like the classic Pagans & Christians by Robin Lane Fox.

  Christopaganism is a book which traverses personal pathways rather than these more general edifications. It is well-written, concise guide to a complicated path. Perfect for beginners and for inspiring open-mindedness in staunch believers on both sides of the fence. Christopaganism is a voice for tolerance and peace between two long-standing opponents. It speaks of a promise of hopeful and fulfilling compromise: a valuable lesson, especially in divided times like the present.

Check out Christopaganism
and other inter-faith texts in the Sacred Mists Library Shoppe!!

Alder:

Ogham letter: F

Ogham name: Fearn

Celtic tree month: mar18th to ap14th.

Appearance:

The alder grows to a height of approximately sixty to seventy feet with a girth of twelve to fifteen feet. Juvenile trees are conical in shape rather like fir trees but as it matures its crown becomes more open and straggly. The leaves of the Alder are roughly round in shape, pointed where they meet the stem and slightly flattened at the other. In colour the leaves are a dark glossy green. There is no autumnal colour so to speak, the leaves just get darker and darker till they fall as, sometimes as late as December.

The Alder has male and female catkins on the same tree, the female catkins look like small cones which stay on the tree all winter.

Medicine:

The leaves of the Alder make an excellent poultice for all sorts of swellings and inflammations. This could be because the Alder is reputed to be able to balance fire (inflammations) and water (swellings) it is said placing Alder leaves in work boots and socks helps tired and aching feet, I wonder about this as I would think this to be jolly uncomfortable. Alder bark made into pills was said to have been beneficial in the treatment of general digestive weakness and enteritis. A decoction of the bark was once used to try and stem internal bleeding. The same decoction could be used as a gargle.

Folklore:

There are several possible meanings to the name Alder. One being that it is derived from the Anglo-Saxon root Alor or Aler meaning reddish brown. This could be from the fact that the wood of the Alder which is a pale colour turns red when cut leading the wood cutters of old to think that the tree was bleeding.

Another possibility is that in Scandinavian myth the first women was created from the Alder, and in Irish myth the first man so possibly Alder simply means Elder.

The Alder is closely associated in mythology with all forms of resurrection. The alder is closely associated with the yearly cycle of the Sun in fact the spring equinox falls within the month of Alder, a time when the power of the Sun is restored to us.

The Alder is known as a tree which is the King of the Fairies and as such carried people of into the otherworld. This other world thought pattern is carried on in that the bird most associated with the Alder is the Raven. As white birds such as the Stork became synonymous with birth so the Raven was associated with death and the otherworld. It is interesting then to find that the Deities most thought of in respect of the Alder, such as Saturn, Chronos and Bran for the Gods, and the Morrigan for the Goddess are also Raven deities.

Bernadette:
We would love to hear a little bit about your background Judika!  Many of your books deal with magic from many different backgrounds and cultures, so I’d love to hear about your background and influences!

Judika:
Well, I’m from Queens, one of New York City’s outer boroughs, which partially explains my comfort and familiarity with different cultures. Queens is reputedly the most ethnically-diverse place on Earth. I come from a fairly international family—I have relatives all over the place. I was the first person in my family to be born in the United States. I grew up with people from lots of different backgrounds, cultures, religions, and spiritual traditions, so I was raised to be tolerant and not make assumptions about people.
I think that personally I am a fairly good example of an urban magical practitioner. Magical practitioners from major urban centers like New York are constantly learning from each other, trading and sharing information, and evolving new traditions. The traditions I learned at home were mainly Central and Eastern European, but I was also heavily influenced by people who taught me African-American, Latin-American, Caribbean, North African, and East Asian traditions. Other influences on me include the great occult stores that flourished in New York City during my youth, before rising rents drove them out of business—great stores like Samuel Weiser’s Books and Magickal Childe, and all the botanicas and wonderful herb stores like Aphrodisia, which just closed recently. Growing up, there was also an unofficial but strong and distinct local New York style of magic, mainly an amalgamation of Western occultism and Puerto Rican traditions, especially Espiritismo—I’m very much a product of my background.

Bernadette:

Tell us about what inspires you to write Judika.  Your books are great sources of information for anyone interested in metaphysics.  How do you go about compiling and researching all information that needed to complete the books that you write?

Judika:

What inspires me to write is my love for my topics. I am so blessed and privileged to be able to write about subjects I love, like spells and witchcraft, saints and spirits. I enjoy the researching process- that part is fun and I would do it for myself, whether I was published or not.
Writing itself is difficult, but I feel an obligation to my material, to preserve it and also to present it in the clearest possible way, so that readers can share in my passions. I love divination, for instance, and I want other people to love it, too. My motivations aren’t entirely unselfish—I think that there’s greater safety for my community of magical practitioners and fortune-tellers if the greater public really understands what it is that we do. Historically, it has been dangerous to practice these arts, as it still is in some places today. I hope that my writing helps dispel fear and misinformation.
My research derives from a combination of personal exploration, learning from books and learning from other people. By nature, I’m a fairly shy person, but I’m a fearless researcher. I contact perfect strangers, if I perceive that they have information needed for one of my books or if I need someone to teach me something or explain something to me—I’ve made some wonderful friends this way.

Bernadette:

Do you have “other” interests or hobbies?

Judika:

Oh, yeah, lots—although whether I have time to devote to them depends on my writing schedule. I love beading and cooking. I read a lot just for my own pleasure: history, mysteries, comic books, art books. I love music. I like to watch movies. I tend to accumulate stuff- I’m an avid collector, especially of witchcraft-themed items like postcards and dolls. I love traveling. Given the opportunity, I’d do all my own field research, if I could.

Bernadette:

What’s in the future for Judika?  What projects do you have coming up?

Judika:

My next book, The Encyclopedia of Mystics, Saint, and Sages will be published in November 2011. It’s another thousand-page encyclopedia, this one exploring saints, holy people, and miracle-workers from many spiritual traditions. It’s a practical work, similar to my Encyclopedia of Spirits, containing information regarding how to venerate and communicate with a wide variety of saints, as well as information on how to determine which saints are most compatible with you and helpful for your own particular problems and issues. I’m also in the process of updating my website and, hopefully, doing some more teaching. Having spent much of the last ten years alone in a room writing, I really appreciate opportunities for personal contact. I have some new classes in the works that I’m very excited about.

Bernadette:

Is there a book that you would like to write, but haven’t done so yet?

Judika:

I would actually like to write some fiction someday—I have a few novels turning around in my head that haven’t made it onto paper yet. I also have several half-completed books. The Encyclopedia of Spirits was initially going to incorporate saints and angels alongside Pagan spirits but the manuscript grew too big. The easiest way to trim it was to delete these categories with the hope that someday they would have their own books. The Encyclopedia of Mystics, Saints, and Sages will be published in November and hopefully the angels will one day have their own encyclopedia, too.
I began my writing career with a large work on fertility that remains unpublished. That manuscript contains a chapter of magic spells. A publisher rejected the book, but liked that chapter, which evolved into my first published work, Pure Magic: A Complete Course in Spellcasting. I would very much like to eventually publish my fertility book.

Bernadette:

I wanted to let people know about your musical background..can you tell us a little about that?

Judika:

I know that’s something we share, Bernadette! My first true loves were music, magic spells, and divination and they remain so today. Some of my earliest memories involve listening to music on the radio and eventually I became a disc jockey. I started off hosting a blues show, but also did standard rock programs and would sometimes fill in for the country and jazz hosts. My taste is eclectic. As with the magical arts, I love and appreciate many styles of music. I was the first female music director of WRSU-FM, the radio station affiliated with Rutgers University. In terms of the craft of writing, the writers who have influenced me the most are the music journalists of the ‘70s, who wrote with clarity and humor and were not afraid to wear their passions on their respective sleeves. When I was eighteen, my career plans involved these musically-oriented paths, but free-form radio was in its death-throes, as was that sort of music journalism, so I ended up on different paths, although, who knows? Radio has evolved and I may return to it someday. The urge to share music with other people spills out of me on facebook, where I’m constantly posting music news and sharing youtube videos.

Bernadette:

How do you feel about the pagan community today?

Judika:

I try to approach people as individuals, regardless of their background. I think that we are blessed to live in a spiritual renaissance and that we should be ever-vigilant to preserve hard-won liberties. I think that it’s crucial that we cultivate tolerance for each other.

Bernadette:

Any advice for aspiring pagan writers?
Judika:

People are constantly writing to me, telling me what book they think I should write next—sometimes describing these books in great detail. And what I always tell them is that if you can “see” a book that doesn’t yet exist, then maybe you’re meant to be the one that writes it. That’s how I began my career—I perceived a need for a book and I could “see” the book that would fulfill that need. If you can see it, then you can write it. This is a good time for spiritual publishing, so don’t wait. If you have a book in your head, put it down on paper. Just write it— it’s easier to fix or embellish something that already exists, rather than agonize over words in your head. My other word of advice is to consider the format in which you would like to present your work. If you hope to actually publish something in book form—whether in a traditional book or an e-book—then don’t post too much of the actual work on the internet: save it for the book itself.

This interview was such a pleasure to do!  Judika’s books have become the”mainstay” of anyone who is interested in the study of spells and magic.  I refer to her books on a daily basis!

Here are just some of her many books:

http://www.judikaIlles.com