Penczak Discusses Grimassi

I reached out to author Christopher Penczak to discuss Raven Grimassi’s last book, “What We Knew in the Night”.

1. I just want to acknowledge up front that it feels so weird to phrase this in the past tense, but here we are. For any of my readers who may not be familiar with him, can you tell them who Raven Grimassi was?

I completely understand. I was talking about Raven to a new friend the other day, and she said, “I thought he passed.”
“He did,” I responded.
“But you are talking like he is still here.”
“He is.” And I truly believe that. She was new to Witchcraft, so it took her a bit to get what I meant by it, but I still sometimes forget he’s not physically with us when I want to call upon the phone and hear his voice. It’s been a weird year trying to get used to that, and remembering I can still talk to him, but in a different way.

You can learn all the formal stuff about Raven anywhere online. He was a prolific award winning writer and teacher, and an experienced occultist with a focus on Italian Witchcraft and his own tradition called Ash, Birch and Willow, but that doesn’t convey to everyone that Raven was, in this incarnation, an extremely loving and fun man, with a devious sense of humor, who enjoyed a glass of sloe gin and tonic, would give great advice and was deeply passionate about the mysteries of life and magick, which were one in the same to him.

Despite the humor and fun, Raven was deeply dignified, and could hold both that warm and that nobility of the Craft as a priest of the Craft. Throughout his illness, he held a sense of deep dignity, regardless of what was going on with his health. It was this presence of self I saw shine through in his classes and rituals and he held that in all how he lived and in how he died.

Raven wasn’t one to tout his prowess magically or psychically, but he was an excellent medium with a clear gift to talk to the spirits, and many magickal things would just occur around him, just in everyday life. He could see and point out the magickal around you with a keen awareness. The faces of creatures within the trees and land around him, that you might swear were not there until he pointed them out, always astounded me, and they were not just tricks of the eye, but had a presence he was sensing.

Raven was deeply concerned about the preservation of the mysteries, of the essence of the Craft and what it means. I think sometimes people misunderstood that passion, but it was deeply rooted in the wisdom of the ancestors, the desire to help people connect to something bigger than themselves, and to serve a greater good.

2. You, and the Temple of Witchcraft, had a close relationship with the Grimassis, how did that come about?

I was very lucky to be befriend Stephanie and Raven early in my own writing career. I believe we met at the Book Expo America, or BEA, in Los Angeles in 2003. I got to meet a lot of amazing people that year. I had met Donald Michael Kraig earlier, in 2002 at the Llewellyn offices, but we got to spend time at BEA and he was an old friend and former student of Raven’s, so I got some quality time with them both and Stephanie. I started my friendships with Ted Andrews, Richard Webster, and Kala Trobe on that trip. We got more time together at International New Age Show, or INATS, just a month or so later in Denver. I found out at one point that my publisher was touting me as the “next Scott Cunningham” to retailers, and both Raven and Don heard that, and were curious to meet me. I met a lot of Scott’s friends and family around that time, which was weird, though I didn’t know that was how I was being billed. Scott was also a student of Raven’s, and thankfully we all hit it off. Raven remarked that it was surprising how quickly the older generation of authors were welcoming to me years later, and I’m very grateful that happened. On my first major book tour for “The Outer Temple of Witchcraft”, Stephanie and Raven graciously opened their home to me, as I was on a budget. My last night of the tour in San Diego area, they hosted me, took me to dinner and then to the event and we hung out for two days. They were just starting work on “The Well Worn Path” card deck and I got to see Raven’s original sketches and the preliminary art with someone who wasn’t actually chosen for the project in the end. After that, we were at several festivals together and they kindly took me under their wing and showed me the ropes for festival work, as I had no idea what I was doing, or of the Pagan cultures beyond New England. We attended Pantheacon, Heartland, and the Florida Pagan Gathering together, along with a few more INATS.

When Raven and Stephanie decided to move out to New England, we visited more and did more local events together. When we began the Temple of Witchcraft, they were our first guest speakers and not long after that, were keynote speakers for our Templefest summer gathering. They have been tremendously supportive in our establishment and success, and offered great advice when things were difficult and how to handle tough situations and people. The community loves them and really feels the loss of Raven. We have fostered bonds between the students of Ash, Birch and Willow and the Temple, and one of their initiates, Julia Radford, even had a main part in our Qabalistic ritual at Templefest, along with Stephanie. We held a memorial altar for Raven at Templefest, and Stephanie shared an ancestral honoring song from their traditions with us.

3. Following Grimassi’s death, it was left to you and his spouse Stephanie to do the final edits of his last book. What was the experience of editing someone else’s work like?

While I have edited other people’s work, this was entirely different. To be of aid to a friend and mentor’s last book was humbling and while I’d like to say I had a clarity at the time about it, I am not sure I did. Although due to his health his passing wasn’t unexpected, I think I was still in shock at the reality of it and our deadline was literally the two weeks after his death, so editing came amid making funeral plans and helping host friends and family coming out for the services. Stephanie did the majority of it with him, and most of it was done the day before he passed. The rest were follow up queries. Much of that part was done together, in front of one computer or print out, going over the edits while Steve, Adam and I were staying with her, and other times Stephanie and I were on the phone, going over the file. We were often having to come to agreement that, yes, that is how Raven would want it, particularly when answering questions and queries from the in-house staff editors. Honestly, I’m giving myself a bit more time before I sit down and read it again cover to cover now that it’s in print. I have it on my “to read” pile and keep looking at it, but I’m not ready.

Tremendous thanks goes to Judika Illes, who was a guiding light, support and stopped us from freaking out too much, particularly about references we could not look up, as much of Raven’s library was still packed up from the move back into the main house after their fire. When we had to stop, to deal with funeral arrangements, Judika took over the parts we could not go further to do. I am deeply grateful as it felt like we had a lot of balls in the air to be juggled and were afraid to drop one. Folks at Weiser in general were just lovely to us both during that process.

4. I feel like this book, “What We Knew in the Night: Reawakening the Heart of Witchcraft” was Grimassi’s most honest, truest expression of his craft. Would you agree with that?

I really love the book, though I love most of his books. But I think “What We Knew in the Night” reveals a Raven Grimassi who is quite honestly out of fucks to give. And by that I don’t mean he doesn’t care about the book, quite the opposite, but he’s writing from a place where he has nothing to prove to anyone, just to share what he has known, lived, and seen.

I remember the first conversations about it. He asked me on a road trip to do some shopping in Northampton, MA, if I had heard about “x,” a little-known technique. I hadn’t. Then he told the story of how he learned it, and a strange world of quiet occultists and Witches, sharing knowledge if you were in the right place and the right time. His telling of this youthful stories reminded me of some of the chats and teachings I would receive just hanging out with him at the house, or by the fire at a Pagan festival. After a few stories, he told me he was thinking about writing about these things, and what they meant to him, how he used them and asked me if younger Witches would be interested. I was, so I did think so, and he began the book. The vision morphed a few times as he worked on it, but that was the essence of it.

While his other books, perhaps until his Weiser books, were heavy on the academics as a reference, he began a process about sharing more intimate practices. I think the DVD “Ever Ancient, Ever New: Witchcraft by the Hearthside” helped him get into a new mode of writing, as that hearthside experience was mentioned a lot with this book and the origins of the material when he was a young Witch in California, being introduced to these unusual Craft folk by others in the community.

While he planned it to be his last Witchcraft book, he had a lot of ideas for other books on occultism, history and spirituality on his mind and I am sad that they won’t be in the world and I won’t get to read them.

5. What separates the witchcraft discussed in the book with other witchcraft titles?

This book has a level of grit, or realness, to it because the focus is not on providing an academic argument as a foundation for understanding. The foundation was in a time that some would think is past in the craft, a time of study with elders, and learning mouth to ear that Raven is preserving by this important work. While having his own experience with the material, it’s also not his own pure gnosis, but set in a foundation of what came before, yet conveyed in that very earthy, tactile way that speaks to the soul of the Witch. He describes it through his own eyes and use, in his own poetic style that was evident in his rituals and music. He even takes on the concepts of academics head on in preparing you for the material of the book.

6. “What We Knew in the Night” outlines 5 steps to following the witchcraft tradition Grimassi discusses. Can you briefly outline them for our readers?

Raven described five steps to his idea of quintessence, and they are:

1. Gathering the Virtue of the Moon – this step is drawing to you the beneficial qualities and powers of the Moon through a “V” shaped hand gesture. This teaching has one of my favorite quotes ever from Raven: “Remember that this moon is the exact same one that every Witch from the past once looked upon.” This Virtue of the Moon is the energy of Witchcraft that guides us in the work.

2. Meeting the Wafting – the Wafting of the Night is the pre-sentient energy of the night, of the primordial darkness. It is an awareness that wafts from the trees, giving us an experience of the mystical. Through words of power, we become aware of its presence, and it becomes aware of ours, and shares in our magical work.

3. Aligning the Witch’s Blade – the work of Aligning with the Witch’s Blade is one of uniting the stars and the darkness of the underworld, and uses some often forgotten traditional techniques of heating the blade, plunging it in cold water with herbs and roots, and magnetizing it.

4. Creating the Clay Witch’s Pentacle – the device of the Witch’s Clay Pentacle is one of the cthonic underworld. The pentacle also as an embodiment of the terrestrial world helps create the final link of the circuit between the heavens and the underworld.

5. Making the Witch’s Ring – the ring uses a stone that has two mates, one within the pentacle and one upon the altar as an altar stone, allowing the work of these five aspects of Witchery to be mobile with the Witch at all time, via the power of the ring. The three stones create a “trine” or harmonious aspect with the powers gathered, and allows the deeper alignment of the heavens, earth and underworld, the classic three worlds of the Witch.

It’s really a beautiful system he has shared involving aspects and elements of things he has both talked about and written about for years, but its framed in a very poetic, magickal and evocative way.

7. What is the one thing you want to make sure my readers know about Raven Grimassi?

That he was, and is, a man of deep honor and love.

8. You, along with Steve Kenson and Adam Sartwell, founded the Temple of Witchcraft. How are things going with the Temple?

Things are really good overall. We are currently in our academic sessions for online classes and have a wonderful group of students in study. We are making plans for our community center, seeking approval with our town planning board and generally enjoying the Hallow’s season.

9. What’s next for you? Do you have any upcoming projects you’d like to share with my readers?

I am in the process of helping in the work of another mentor and friend, Laurie Cabot, as Copper Cauldron releases Laurie Cabot’s “Book of Visions”, a meditation book, for the yuletide season. I also have three books in various stages of production I hope to have out next year if all goes well.

10. Parting shot! Ask us here at The Magical Buffet any one question.

I know you’ve attended many events in the Northeast and I believe you’ve met Raven. What’s your favorite Raven memory?

I remember one year at Celebrate Samhain, an annual event in New Hampshire, Raven was one of the speakers. I don’t remember the topic of his talk, not even a little. However, the thing I remember was him thanking the audience and talking about his readers. He spoke with such genuine appreciation that it was then I decided I liked him. I’ve seen him speak or attended a class he instructed several times, but him thanking everyone, that’s the memory that sticks out.

You can learn more about “What We Knew in the Night” here.

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About Raven Grimassi:
Raven Grimassi was a neo-pagan scholar and award-winning author of more than 12 books on witchcraft, Wicca, and neo-paganism. He was a member of the American Folklore Society and was a co-founder and co-director of the Crossroads Fellowship, a modern Mystery School tradition. Photo credit: Peter Paradise, Raven Wolfe Photography

About Christopher Penczak:
Christopher Penczak is a modern Witch, teacher, and healer. He is the author of the acclaimed Inner Temple of Witchcraft series and of “Gay Witchcraft”, Weiser Books, 2003. He offers classes and workshops throughout the U.S. Visit him at: www.christopherpenczak.com.

10 Questions with Mallorie Vaudoise

Today we’re talking with Mallorie Vaudoise, author of “Honoring Your Ancestors”. We talk about family, mediumship, Italian magic, and more!

1. What is ancestor veneration?

Any spiritual practice that connects us with the people who were here before us is a form of ancestor veneration. This could take the form of prayer, ritual, and offerings. Or it could take the form of genealogical research, cooking traditional foods, and playing folk music.

Ancestor veneration is found throughout the world. Even within our own culture, which I consider spiritually impoverished, we still see the impulse to hold funerary rituals, create memorials, and leave offerings of flowers at cemeteries.

My book is about adding new depth and color to these simple actions. It’s also about grounding your magical practice in a loving relationship with these powerful spirits who have a vested interest in you as their descendant.

2. What sparked your interest in working with ancestors?

I was a weird kid. Some of that weirdness was unique to me. But in retrospect, some of it was a failure to integrate messages that I was receiving from spirits through mediumship. I didn’t have a framework for understanding the weird physical and emotional sensations that I now associate with spirit contact. And yet, there were some things that I could perceive, like the presence of my great-grandparents around me.

As an adult, I became involved in two lineages of African-diasporic traditions. Both traditions required me to undergo rituals aimed at nourishing and seeking the blessing of my ancestors before I could be initiated. They gave me a practical understanding of the phenomena that I had experienced throughout my life. It was life changing. I wanted to share the gift of ancestral consciousness with other people, outside of any traditional lineage. That’s why I wrote the book: as a guide for people who don’t have the benefit of a tradition or teacher, so they can find their own path. Or for people who are working within a tradition but want to further develop their ancestor veneration practice into something more personal.

3. In your book you explain there are different types of ancestors. Can you explain this for our readers?

When we think of ancestors, sometimes we assume these are always blood relations. I definitely think there is an inherent power in connecting with your parents, grandparents, great-grandparents, etc. because they made your body with their bodies. So, as ancestors, they are connected to the great Mysteries of incarnation: birth, death, and rebirth.

But there are other types of ancestors that we may honor as well. For example, the ancestors of an initiatic lineage might consider you their descendant as much as your blood ancestors if you ritually died and were reborn as their godchild. We also have connections to ancestors that come about without ritual initiation that I refer to as “affinity ancestors”. And of course, there are other spirits of dead humans that we might incorporate into our ancestor veneration practice, like saints and spirit guides.

At the end of the day, they’re your ancestors. You get to decide who you honor and how. You’re already the high priest/ess of this religion. That means you have the power and the responsibility to honor them in a way that works for both sides of the equation.

4. Can ancestor veneration be incorporated into any spiritual practice?

If you’ve got ancestors, you can venerate them. How you do it and how it relates to your other spiritual practices is entirely up to you.

5. Is making offerings a requirement of ancestor veneration? What constitutes an offering?

I don’t think there are any universal requirements in ancestor veneration. But offerings can be profoundly meaningful for many people, especially for those of us who were raised never to show up to a party empty-handed.

An offering is anything given as a gift to your ancestors. This could be incense, food, or flowers. It could be the sacrifice of time or money to charity. I consider writing this book the biggest offering I’ve made to the ancestors to date.

6. You talk about mediumship as part of ancestor veneration in the book. What is mediumship?

Ancestor veneration is a two-way street. If prayers and offerings are communication in one direction, then mediumship is communication in the other direction.

Unlike other spirits, our ancestors were all once human. They remember what it’s like to have a body, to go hungry, to fall in love, to stub their toes, to feel feelings, and to have dreams. Just like us, they once chose to come here and learn the lessons that can only be learned through a human body. But their day was different from our day, and their lessons where different from our lessons. Through mediumship, they can share their learnings with us so we can be free to focus on the new lessons we have come here to experience.

7. Can anyone perform mediumship, or do you need to have special gifts to do it?

Anyone can perform mediumship. But what that looks like for you may differ from what it looks like for me. Some people see spirits. Some people hear them. I am always shocked to find how many people feel them physically like I do.

I’ve met mediums who can give hard facts, like names and dates, through mediumship. I’m not that type of medium. But names and dates wouldn’t be terribly helpful for me anyway. I need guidance on how to accomplish the unique work that my spirit chose to incarnate for. Names and dates aren’t going to help me with that.

Mediumship is like any other skill. Anyone can do it. Not everyone can do it in the same way. But ultimately, if you want to get better at it, you have to practice it.

8. You have a beautiful website, Italian Folk Magic. What inspired you to create a site devoted to the subject matter?

I’m Italian-American. Growing up, it felt like my family was haunted by Italy. I was raised with stories about how difficult my grandparents and great-grandparents’ lives were, both in Italy and when they immigrated to the United States. But at the same time, it was almost taboo to talk about our heritage. That tension between the depth of gratitude that I was taught to show and the shame my family had acquired about our roots led me to go searching for our ancestral traditions. I wanted to find the things we had sacrificed to become American: the passion, the ecstasy, the magic.

At the time, there were very few resources on the topic in English. Now, I see more and more Italian-Americans proudly embracing their heritage in the form of traditional herbalism, devotion to the saints, and yes, folk magic. I like to think my site played a small part in inspiring other Italian-Americans to explore their roots.

9. What’s next? Do you have any upcoming projects my readers can look forward to?

Right now, I’m focused on getting Honoring Your Ancestors to as many people as possible. Your readers can stay a part of that conversation by following me on Instagram and Facebook.

I think of myself as a missionary for the spirit world. I started with the ancestors because people were already asking me about them. But I’d like to start writing more about other types of spirits: spirits of place, for example. Ultimately, the goal of all of my projects is to remind people that they are not alone. We are all connected with each other and with a vast ecosystem which includes every other living organism as well as discarnate spirits.

10. Parting shot! Ask us here at The Magical Buffet any one questions!

What’s the most important thing you’ve learned from a dead person?

“Don’t check the value of your retirement accounts daily, it will just make you crazy. You’ve got a long time to retirement.” That’s what my father always said, and now my day job is working for a financial advisor and seriously, a lot of people would be a lot happier if they followed this advice.

About Mallorie Vaudoise:
Mallorie Vaudoise is a NYC-based spiritualist of Italian descent. She is the author of Honoring Your Ancestors: A Guide to Ancestral Veneration (Llewellyn, 2019) and Italian Folk Magic, a blog about devotional practices from Southern Italy and Sicily. She is an initiated Olorisha (Orisha priestess) and an apprentice in the ecstatic music and dance traditions of her ancestors. She believes that music, food, wine, and kissing are vital tools of spiritual evolution. Visit Mallorie online at www.roadsideomens.com or follow her Instagram account @honoringyourancestors.

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Backwoods Witchcraft

“Backwoods Witchcraft: Conjure & Folk Magic from Appalachia” by Jake Richards paints a vivid picture of life in Appalachia. He pulls you into a land of rough living, enchanted untouched places, folklore, and magical practices. A place where the Bible is equal parts magical text and religious philosophy.

“Backwoods Witchcraft” is written in a conversational tone. Although Richards divided the book into sections, you’ll find quite a bit of overlap in subject matter. This can be forgiven because as you read you’ll find that Appalachian folk magic infuses everything in the practitioner’s life; from the foods you choose to eat to the clothes you opt to wear.

Personally, I loved reading about how the Bible is used for magical incantation. It made me look at the Bible with fresh eyes. “Backwoods Witchcraft” is also loaded with tons of little things you could incorporate into your everyday life. However, Richards wrote the book in the hopes that others would pick up the torch of Appalachian folk magic, a magic that is apparently dying out in practice in its traditional homeland.

“Backwoods Witchcraft” is a well-written, entertaining, and informative read.

You can learn more here.

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Familiars in Witchcraft

When I saw “Familiars in Witchcraft: Supernatural Guardians in the Magical Traditions of the World” by Maja D’Aoust I knew I wanted to read it. Who doesn’t love learning about those adorable animal familiars? In retrospect, it was a pretty myopic view. Fortunately, D’Aoust opened my eyes into what makes a familiar.

There’s so much more in the world to be considered a “familiar” than your typical black cat. D’Aoust takes a truly global approach to the conversation. Her discussion of Greek belly-talkers and sibyls and the source of their powers was eye-opening. The examination of the role of angels in Judeo-Christianity was something I never considered before as a “familiar” relationship. D’Aoust also looks at fairies, familiars in Chinese legend, and even their appearance in India. I also want to mention that the author’s own artwork is used throughout the book. It’s unusual that the author provides their own art, and in this case helps bring extra vitality to her words.

“Familiars in Witchcraft” is wonderful, global look at what defines a familiar and how that title is mutable depending on culture. A worthwhile read for all those interested in spirit.

You can learn more here.

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Memory Palace and Masonic Lodges

Okay folks, this might be a pretty specific niche that I’m talking to today, but I’m going to tell you about “Memory Palaces and Masonic Lodges: Esoteric Secrets of the Art of Memory” by Charles B. Jameux. Freemasonry baby!

Firstly, it’s important to differentiate between speculative and operative Masonry. Operative Masonry is referencing Masons who physically work with stone. Speculative Masonry, which obviously evolved out of operative, doesn’t work with stone but instead use the operative trappings as metaphoric tools for self-improvement. Knowing this helps greatly with understanding the text.

Next up are memory palaces. You might have seen references to these in popular culture. It’s a mnemonic device that allowed speakers to remember key points for their talks by associating them with a different part of the building in which they’re speaking. When it was rediscovered, the process evolved, and the elements of these memory palaces were not intended to trigger the memory but would transform into talismanic objects with knowledge entirely new to the seeker.

“Memory Palaces and Masonic Lodges” is a response. The author, Charles B. Jameux, had an article published in 1995, where he detailed that the art of memory wasn’t unknown to Masons and that they grafted it onto their own practices. This, in and of itself, wasn’t in much dispute, however Jameux puts the time of this earlier than most scholars had previously thought. Obviously, there was much debate after its publication, so “Memory Palaces and Masonic Lodges” is a thoughtful response to criticisms that were made after the first article’s release.

If you’re not overly familiar with Freemasonry, like myself, you’ll find this book to be an eye-opening look at some of the history and practices of Freemasons.

You can learn more here.

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Grimoire of Aleister Crowley

Many of you may have seen on social media me asking why I request review copies of books featuring group magic rituals when I don’t belong to a group. In the case of “Grimoire of Aleister Crowley: Group Magick Rituals” by Rodney Orpheus there are many reasons why even if you don’t belong to a regularly practicing ritual group you’ll want to read it.

Orpheus doesn’t just rattle off a bunch of rituals and call it a day. He gives you the background and history of the work. He carefully outlines any adjustments made and his reasoning for doing so. I found his research and insights quite informative and well worth the cover price.

Of course, the book is about rituals and “Grimoire of Aleister Crowley” is full of them. After all the background info and details, you get to the actual ritual. I love that at the beginning of each ritual the author lists the number of participants required, how long it will take to perform, how wordy the ritual is (how much text you’ll need to memorize or read aloud), and the list of equipment needed. He also provides diagrams of the way you’ll want the room set up for each ritual.

If you’re an occult nerd, like me, or if you’re interested in magic rituals for more than one, “Grimoire of Aleister Crowley” is a must read.

You can learn more here.

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Beyond the North Wind

When I requested a review copy of “Beyond the North Wind: The Fall and Rise of the Mystic North” by Christopher McIntosh I thought I was getting another general overview of the Norse religion and maybe some rune talk. What I got is so much more!

McIntosh discusses “the North” from every perspective imaginable. Its physical locales, its mystical realm, its past populations and current residents, and their belief systems.

“Beyond the North Wind” spends a lot of time discussing Hyperborea, a land from Greek mythology that was home to a race of giants who lived “beyond the North Wind”. The Greeks thought that Boreas, the god of the North Wind lived in Thrace, and therefore Hyperborea indicates that it is a region beyond Thrace. Unbeknownst to me, Hyperborea is much like Atlantis. There’s much discussion of whether it was a real place, if it is a real place, was it the same as Atlantis and/or other ancient mythological lands, etc. It’s interesting to see all the theories, far-fetched or not, about a land that’s entirely new to me.

McIntosh bookends the ancient past and mythological with a nice survey of the resurgence of the North in popular culture: television shows, comic books, music, and of course everything Thor. Not to mention the adoption of many of their spiritual practices among modern citizens around the globe. Vikings and runes of old, now new again.

Christopher McIntosh has presented a thoughtful overview of the North that I would encourage anyone to check out.

The author has a short video for the book you can watch below.

You can learn more here.

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Witchcraft & Secret Societies of Rural England

I was honestly not prepared for how amazing “Witchcraft & Secret Societies of Rural England: The Magic of Toadmen, Plough Witches, Mummers, and Bonesmen” by Nigel Pennick turned out to be. I was expecting a scholarly text, or perhaps some fantastical legends, but what I ended up with was a perfect mix of both.

Pennick paints a vivid image of an earlier time in rural England. A time when magic and daily life coexisted seamlessly. The line between trade organizations and magical societies were blurred to make the average person’s difficult life a little easier. Millers, gardeners, people who worked with horses, and more, all had their own trade guilds that also functioned as secret societies. Tricks of the trade, as well as beneficial magic, that would aid them in their craft were shared. Entrance into these groups was harrowing and the price of betrayal was potentially quite high.

“Witchcraft & Secret Societies of Rural England” pulls on extensive research as well as the author’s contact and participation with the modern-day remnants, and revivals, of these groups and practices. “Witchcraft & Secret Societies of Rural England” is a fascinating read that I cannot recommend enough.

You can learn more here.

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Justice Howard’s Voodoo

Photographer Justice Howard decided to tackle the subject of Voodoo from her perspective for her latest work, “Voodoo: Conjure and Sacrifice”. Howard’s photos are striking, and not for the faint of heart. She dove deep in assembling her shots, using real human skulls, actual animal parts, and true human forms (which includes nudity).

Paired with her photos are the writings of New Orleans Voodoo Queen Bloody Mary, who some of you may recognize as the author of “Bloody Mary’s Guide to Hauntings, Horrors, and Dancing with the Dead”. Bloody Mary helps provide a frame of reference, a starting point if you will, for the art that Howard creates. Howard presents her interpretation of such Voodoo notables as Papa Legba, Baron Samedi, and Marie Laveau. She also pays artistic respect to Voodoo trappings like snakes, the Crossroads, and animal sacrifice.

Justice Howard’s “Voodoo: Conjure and Sacrifice” is complex visual piece. One moment it presents a beautiful, rich, dark landscape and at the next turn it’s vibrant and sparse. Her work makes you contemplate Voodoo and its relationship with the outside world (with you being the outside world, assuming you don’t follow the faith). It’s definitely not for everyone, but I thoroughly enjoyed it.

You can learn more here.

Witchbody

I remember looking through the Weiser Books catalog and seeing “Witchbody” by Sabrina Scott. It was described as a graphic novel about everyday magic. I’m a fan of comic books, particularly in their collected form, commonly referred to as a “graphic novel”, so I had to check it out. Simply put, it’s amazing.

“Witchbody” is a beautiful and poetic exploration of ecology, magic, the environment, spirituality, and ontology. Scott’s art and prose combine to create not only a book, but a true magic item. Reading it changes you.

I don’t know what else to say. In my opinion “Witchbody” by Sabrina Scott is a must read and instant classic.


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