Musing Mystical

✨ A Gathering Place for Magical Readers and Writers ✨

Ensouling the Effigy, by Matthew Venus

Ensouling the Effigy: The Witch’s Arte of Enspirited Objects,  by Matthew Venus
Crossed Crow Books,  978-1964537030, 420 pages, October 2025

“There is a crimson thread sewn through the diverse and rich spiritual and magical traditions humanity has crafted throughout our history, A thread drawn through conjuring lips and hallowed by the breath of life that stitches together the embodied realm and the Otherworld and binds both spirit and body by acts of devotion, desire and demand. This vivifying thread is, of course, the arte of crafting and working with enspirited objects, or what many refer to as spirit vessels.”1

Ensouling the Effigy: The Witch’s Arte of Enspirited Objects by Matthew Venus is a book that has within it a breath of life that inspires and encourages the practitioner to push a little further than what they may have considered as a means of deepening their connection to the work of the witch. Working with magical objects and empowering them is not a foreign concept to those engaged in the sacred arts, but maximizing the use and specifics of such tools is one often overlooked at worst and given a cursory glance at best. Venus brings this practice to the forefront as not only a viable methodology but also as the natural support towards successful workings.

Ensouling the Effigy is a 420-page tome that is impressive in that fact alone. Not many newer works are this lengthy and often just skim the surface of what is possible within their content. This is definitely not the case in  this writing, while also not adding anything extraneous or unintentional in its material. The title is organized into twelve chapters, contained within three parts. “Part Four: A Book of Secrets” provides the reader with a grimoire of sorts containing recipes, sigils and selected ritual workings.  And, given the size of this title, there is thankfully a glossary, bibliography, and index for quick search.

Scattered throughout are many praxis (practical application) opportunities and the overall style of the book is one of having opened the pages to a book written long ago and imbued with the formal structure of academia and concise focus. Many of the chapters conclude with a recommended reading list which provides the opportunity for further study and research for those so inclined. I particularly appreciated a specific inclusion within the introduction about general advice and precautions:

“As with most things worth doing, Witchcraft is not free from risk. Whenever engaging in magical work, particularly when working with spirits, there exists a possibility for delusion, obsession, or any number of other adverse situations to arise. Though I have included many warnings and instructions throughout this work regarding establishing protections and exercising discernment, the reader is encouraged, as much as possible, to approach this work from a place of preexisting stability in their life situations, and mental health. If you find that engaging in this work, or magical work in  general, begins to cause imbalance in your life, you should seek the aid and counsel of spiritual elders, trusted and objective peers, and medical professionals, as needed.”2

“Part One: On An Inspirited World” contains five chapters that in and of themselves could be the content of a singular title on the nuances, realms, and workings of the witch and the spirits that are called to aid in their workings. The material contained provides the reader with a clear picture and understanding of who and what “spirits” are, the identification and workings of a “witch”, ethics of magical work, tools of creation of sacred space, communication with spirits and more. 

Having laid the foundations of what the work of engaging spirits, “Part Two: On Inspirited Objects” dives right into the use of objects as ensouled allies for magic. Concise information is given about the various types and uses of ensouled objects such as spirit vessels, effigies, poppets etc. The history of such items is of particular interest in bringing their use from a place of archaic relegation into the modern world and practice of witchcraft. 

“Part Three: Ensouling the Effigy” gets to the meat and bones (no pun intended) of bringing life to the tools of working and the use of breath:

“One of the threads woven through the binding of this book is the idea that breath is the primary vehicle for spirit.  As we have seen, the spiritus, the breath , is found both at the literal and mythological birth of humanity.  It is the whisper that inspires us to create new forms. It is the vox magica that speaks desire into form and chants, charms, and conjures the spirits.  Air, breath, and voice are inseparable from our understanding of spirits and spirit work. And, it is through the breath that we will ensoul the effigy.”3

The chapters contained therein, provide specific instructions, practices and considerations for the reader, if they choose to actualize this work and incorporate into their magical system. A variety of breath work practices are offered in “Chapter Ten: Spiritus Vitae: On the Arte and Act of Enspiriting Objects”. These praxes and the author shares his methodical and step-by-step approach in the act of ensouling. 

And, in living no stone unturned and accountable, the concluding portion of the final chapter of “Part Two”, discusses release of bonds, exorcism, and banishment of those spirits and tools you no longer wish to engage with. Three praxis rituals are provided in detail to provide clean and effective disengagement. 

“Part Four: A Book of Secrets” offers a robust conclusion to the works contained within Ensouling the Effigy. Included within is a section of recipes and correlating sigils for botanical allies. Incense recipes include protection, cleansing, exorcism, evocation, and others. Each is concise including both botanical and commonly used names of the botanicals, as well as instructions for creating and best practices for use. 

The second offering of “Part Four: A Book of Secrets” is a selection of workings. Venus writes:

“The following operations bring together many of the approaches explored throughout this book’s work.  They are presented so the reader might perform them as written, or make judicious alterations as best suits their own craft.  It is my hope in sharing them here that they may give a good illustration of the manner in which such workings as are implied throughout the course of this book may be crafted and formatted to suit your own work.”4

The book concludes with six appendices that provide the reader with additional supports and tools of working that include planetary correspondences and magic squares (App. 1); the use of color (App. 2); the basics of crafting consecrated water (App. 3);  a ritual for creating sacred space (App. 4); consecration of your blade of Arte as a working tool dedicated to spirit workings (APP. 5); and an Example of a Formal Written Pact, a necessity for clear and clean spirit engagement (App. 6). The  Glossary and Index provide easier navigation through topics and nomenclature not traditionally used in your lighter offerings of text  on this subject. 

Would I Recommend?

Ensouling the Effigy by Matthew Venus is a title that has been carefully crafted and well researched in a way that is appealing both to seasoned practitioners and those new to the craft of the witch. This work is truly one that will take its place among the classic compendiums of magical work that are the foundation for informed and deep magic. 

It is not by any means a “light” read, nor should it be given the subject matter, and will require time, effort and methodical building of your specific work in this art, but the results and general expansion of those who choose to approach this subject in this way, will carry far and deeply into all of your practice. In the words of Venus:

“It is my hope that the spirit of this book has perhaps “breathed into” you in some small or significant way and that my efforts here will have enriched both your arte and arte going forward. If this tome has served in extending a witching hand across to the Otherworld and opened some eyes a bit wider around our ideas concerning spirits, personhood, and bodies, I will be quite pleased. If it has inspired you to move more consciously and actively enspirit, and in turn be enspirited by the world around you, and to perhaps take up this arte more actively, then it will have done its work,  and I will be grateful to have aided in its creation.”5

About the Author: Matthew Venus

Matthew Venus is an artist, folk magician, and witch in Salem, Massachusetts. His craft centers on animism and ancestral, land-based traditions. His practice is enriched as Tata Ndenge in a lineage of Kimbanda Angola and his experiences as an Aborisha in the Lucumí Orisha tradition. For over two decades, Matthew has shared his teachings worldwide through courses on witchcraft and folk magical traditions.
 
Matthew owns the apothecary of Spiritus Arcanum, a shop that specializes in handcrafted incense, oils, and talismanic art. He cofounded the Salem Witchcraft and Folklore Festival, which hosts events around magical education, community building, and activism.

Divine Feminine Gnosis, by Lee Irwin

Divine Feminine Gnosis: The Lesser and Greater Mysteries of Sophia, by Lee Irwin
Inner Traditions, 979-8888502532, 304 pages, December 2025

Within Lee Irwin’s Divine Feminine Gnosis: The Lesser and Greater Mysteries of Sophia is a challenge many books discussing esoteric topics face: the author must diligently walk the fine line between coherently communicating their ideas, experiences, and sentiments within the limits of language, with one hand, and gesturing toward the veiled dance of the deeper Mystery with the other. And the attempt to thread this needle in order to present the reader with a tapestry of divine feminine–i.e. Sophianic–wisdom is an even greater challenge due to the diversity of expression that such wisdom can take, as Irwin himself acknowledges.

The book is divided into two main sections: the Lesser and Greater Mysteries, which correspond to Praxis (practice, lived-experience, development of feminine values) and Sophiana (the hidden esoteric realities that ground and unify the expressions of feminine gnosis in one’s lived experience). While the latter half is certainly more abstract and metaphysical, it covers familiar Gnostic territory: Divine Union, the World Soul, Aeons, Rebirth, and how they connect to the lived-expressions of Sophia through the Body, Soul, and Mind as discussed in the first half.

At the outset, Irwin himself suggests that attempting to read the book in a typically “masculine” way: e.g. looking for precise, logical argumentation meant to arrive at a determinate conclusion, is not fitting for the content of the feminine gnosis. Throughout the text, Irwin takes great care to distinguish how the potentially limitless expression of Sophia–the divine source of this embodied, intuitive, and creative feminine type of knowing–differs from the masculine patterns that have dominated the religious and social institutions of our inherited past.

In a sense, because Sophianic knowing explicitly does not seek a final, closed formulation of beliefs, theory, or way of being-in-the-world, it seems difficult to provide any concrete examples of how divine feminine wisdom manifests in the world. Instead, Irwin relies upon the masculine/feminine contrast–using the distinction of what feminine gnosis is not like–along with repeated cycles of key descriptors to illuminate the topic.

Although Irwin’s presentation of the Lesser Mysteries is meant to reveal how feminine gnosis shows up in the world of our experience, this is especially where illustrating particular instances of feminine wisdom and/or practices that may open one to the grace of Sophia would be helpful for the reader. In lieu of this, Irwin presents iterations of generalized descriptions and “guiding principles” that often lack means toward practical application.

For example, Irwin writes, “The grounded praxis is simply to be loving and compassionate, to express care and concern that is heart-centered, in the most direct and genuine sense,”6 and “In post-traditional spirituality, what matters most is direct personal insights and how those insights contribute to a better, more mature world.”7 As a reader, I was left wondering: How do I become simply loving and compassionate? What is insight? How do we recognize and/or cultivate this capacity?

Irwin gestures at some practices which may help foster insight, such as meditation, soul-based education, creative projects, and dreamwork–indeed, Irwin’s only concrete example of a praxis is a simple, three-step process for dream analysis. Although the accumulation and refining of insight is one of the most frequent ways Irwin describes the ingress of Sophianic wisdom to lived-experience, this term does not even warrant a mention in the Index. Nor is insight differentiated from intuition, another key capacity for receiving Sophia’s gifts.

In the end, feminine gnosis comes down to some special way of knowing. Such knowledge is not based in abstract, rationalistic doctrines or privileged states of consciousness bequeathed by an (often patriarchal) authority or tradition. It is a “secret knowledge” (a common Gnostic trope) in the sense that it cannot be codified into language, emerging uniquely for each individual, and aimed toward the formulation and realization of certain qualities within both the individual, society, and Cosmos. E.g. inclusive equality of all beings and ways of life (people, animals, plants, minerals, angels, the deceased, etc.), mediated by mature loving relationships and guiding principles that foster universal well-being and the creative actualization of possibility awaiting exploration beyond the horizon of previous experience.

Despite the reservations I felt about Irwin’s style/structure, Divine Feminine Gnosis began to resonate on a deeper level over time, marinating with more exposure to the potentially inexhaustible ways Sophia weaves within the Mystery of Being. I urge readers who may be highly-analytic (myself included) to consider Irwin’s early guidance in how to read his book in the Preface and Opening (xi – 12). Personally, I found that pulling back and softening my focus on the text (even taking a break!) made reading flow far better, and without the feeling I was missing/losing content. 

I also found some of Irwin’s characterizations of “masculine” religions, wisdom traditions, etc. to be more abrasive, dichotomizing, and dismissive than necessary (not the most inclusive, holistic, respectful attitude, in my opinion). However, this emphasized that the revitalization of feminine Wisdom in our world cannot happen without disrupting the excesses of masculine patterns of thinking-being that grip us at individual and collective scales. For readers who may be more comfortable in these more masculine patterns (scientific, rationalistic, etc.), I found Irwin’s perspective resonated with contemporary cognitive science: e.g. McGilchrist’s argument that our brain’s left hemisphere (analytic, control-oriented) is playing the role of “master” rather than playing the emissary of the (holistic, relational) right hemisphere.

Irwin’s work was inspiring as it was illuminating, inviting a courageous openness to adopt a new perspective. Without this openness, I may not have persisted to the end of the book–and would’ve missed one of the most deeply resonant expressions:

“The incarnate world is the center of creation, not some lower level, but the very heart and soul of becoming as embodied life seeks to maximize our deepest potentials. We need physical life to actually reach maturity; we need the challenges and limitations as a means within which we can form and develop new structures and patterns of becoming.”8

Pagan Portals – Áine, by Kelle BanDea

Pagan Portals – Áine: Goddess of the Sun, Fairy Queen of Ireland, by Kelle BanDea
Moon Books, 1803419423, 104 pages, December 2025

A while back, I was at a hostel in Kalispell, Montana when another traveller offered to give me a psychic reading in exchange for reading her tarot cards. Out of all the things she told me, what stuck with me the most was how one day I would go to Ireland and deeply connect with a powerful red-haired goddess, changing my life forever. Well, I’ve yet to get myself to Ireland, nor have I pursued getting to know any Irish goddesses.

But when I first saw the cover for Pagan Portals – Áine: Goddess of the Sun, Fairy Queen of Ireland by Kelle BanDea, I was immediately drawn to the cover’s image. Who was this goddess with the flaming hair? Certainly one I’ve never heard of before! I’m so glad I followed my curiosity to read this book, as BanDea has done a wonderful job depicting Áine through stories and offering readers a multitude of ways to get to know her.

BanDea begins this book with an insightful introduction about Irish deities and fairies. Topics covered include the Tuatha Dé Danann, Fairy Faith, Irish Fire Festivals, the Celtic Revival, and Irish Travellers. This introduction is vital for someone new to Irish history, mythology, and folklore, as it situates what BanDea shares about Áine in the wider context. From cultural feelings towards fairies to understanding the Sidhe, this section attunes readers to the collective wisdom of Irish culture those on the outside might not otherwise be aware of.

“Part I – Áine in Myth and Folklore” is divided into two chapters. The first chapter, “Sun Goddess of the Tuatha de Danann”, focuses on Áine’s popular depiction as a love goddess associated with the sun. BanDea explores references to Áine in the Book of Invasions as well as mythology within Tuatha Dé Danann. What I found interesting was BanDea explaining how Áine’s name and the rituals associated with her, particularly at her hill in KnockÁiney, Ireland, highlight her association to Midsummer and land fertility.

Within this chapter BanDea also explores the associations of Áine as a Mother Goddess, Fertility Goddess, and Land Goddess. All of the information BanDea shares is well researched and provides a multifaceted approach to Áine, taking into consideration both the folklore as well as scholarly sources. She even covers her darker attributes, which potentially link her to the Morrigan and god Crom Cruach.

The second chapter, “Fairy Queen of Munster”, delves more specifically into the Áine’s folklore of being raped and then taking revenge through either murder or cutting off the man’s ear thus making him maimed and unable to be king, depending on the version. BanDea does a great job explaining how these stories of Áine, as well as countless other goddesses, were changed based on who is telling them, writing:

“Feminist theologians, noting this phenomenon of reducing goddesses to sinister spirits in many cultures, often frame this is a mythological parallel to how women’s ability to hold power in general was degraded over time, and how, under the Christian world in particular, women came to be seen as dangerously seductive; a natural temptation.”9

Therefore, she takes a measured approach in exploring Áine as a banshee and mermaid. I found these topics fascinating, especially BanDea’s exploration of the “magic wife” motif.

“Part II: Áine in Neopagan Practice” is where BanDea shifts towards offering ideas for working with Áine. First, she includes a guided journey to establish a connection. From here, BanDea shares Áine’s correspondences and folklore tips, reminding readers to use proper caution as she is a fairy. BanDea also offers insight on how Áine can support ancestral work, including a ritual to ask for her blessing on ancestral endeavours.

The next chapter focuses on Áine and seasonal workings, which is very fitting given her association with natural cycles, fertility, and abundance. BanDea shares magical workings that can be done at Midsummer, Lughnasadh, and Samhain. These range from a protection ritual to an abundance spell jar. I particularly appreciated the eco-spirituality consideration given in BanDea’s suggestion to adapt Áine’s rites “to bless the land with her protection, while making a commitment to do what you can to help both the Earth and those who will be most affected by man-made climate change.”10

Yet the chapter that stood out the most to me was “Áine in Ritual, Archetype, and Story”. As someone who has studied depth psychology for nearly a decade, it was a thrill to see BanDea include a whole chapter dedicated to working with the archetype of Áine. While I believe it’s important to not reduce deities to archetypes, this has always been how I personally connect the most with the stories and energies they hold. BanDea offers a guided journey to meet Áine as the Dark Maiden as well as meaningful questions that one might ponder or journal after working with one of Áine’s stories that resonates with them. In this context, Áine becomes a potent goddess those working through trauma can call on during their healing process.

My favorite thing overall about this book was BanDea’s perspective. She’s a feminist theologian and this shows in how she depicts Áine and offers insight into establishing a relationship with her. The mixture of healthy skepticism and honesty about the supernatural and spellwork make her a grounded voice for the subjects of such a mysterious goddess. While the content is rooted in primary sources and Irish culture, BanDea’s personal anecdotes and experience give shape to the text to make for an engaging read.

I also appreciated how BanDea acknowledges the different Neopagan approaches to working with deities. She has an appreciation for the wide variety of spiritual paths, and in turn makes the content she shares accessible without it becoming generalized, all the while encouraging respect for the culture from which Áine arises. BanDea is thoughtful as an author and guide, a wonderful attribute in someone offering an invitation to connect with a new deity.

All in all, while Pagan Portals – Áine is a quick read (I finished it front to back within the span of my daughter’s nap!), it is packed with the stories of an enigmatic goddess. BanDea’s exploration of Áine presents a well-rounded introduction for getting to know this goddess, leaving it up to the readers to discover her in her many forms: sun goddess, fairy queen, banshee, or even mermaid. The deep connection Áine has with the land of Ireland is sure to speak to those interested in eco-spirituality, while those who are seeking a protector as they heal trauma may also find solace in relationship with her.

Alchemical Lightwork, by Arthur Versluis, Ph.D.

Alchemical Lightwork: A Guide to Creating Cultures of Light and Spiritual Awakening, by Arthur Versluis, Ph.D.
Destiny Books,  979-8888500187, 168 pages, September 2025

“Even if we already have learned about or have experience in working with light, alchemy provides us with invaluable images, symbols, parables, texts and guidance for spiritual practice in relation to nature, other people and ultimately a transmuted individual community, and  world.  Alchemy provides us with a larger map and a sense of direction. Drawing on the ancient alchemical tradition, we begin to see how we can move towards illumination and develop a vibrant spiritual community in a flourishing natural world.”11.

Alchemical Lightwork: A Guide to Creating Cultures of Light and Spiritual Awakening by Arthur Versluis, Ph.D. is organized into twelve chapters contained within four parts.  Additionally, more information is contained with three appendices, rounding out with further reading selections and an index for easy searches.  The introduction provides the “why” of the title and the author’s re-stranding of alchemy as taught through the ancient Hermetic text of The Emerald Tablet by Hermes Trismegistus and modern concepts of “light working”. And overall, the organization of content is structured to parallel the stages of the alchemical process:

“Alchemy is understood to unfold in colored stages, from the black, to the white, to the yellow, to the red. It is the unveiling of the light. But the process is not linear, going like a train from  here to there. Rather, it unfolds in a spiral, where we return to the same place but in a new way, as the spiral unfolds. Alchemy ultimately is the unveiling of what was always there, and it is conveyed in enigmatic, pure images of primordial nature and human beings.”12

“Part 1: The Black” reminds the reader of the power held in the cyclical nature of all things and, most importantly, the ebb and flow necessary to alchemize (transmute and transform) our more reactive nature. The four chapters lay the suitable groundwork for the Individual seeking to co-create a better future that is inherently and necessarily born from the darkness. This premise aligns with the protocol and steps of the alchemical process and the historical processes used more widely in the ancient times. Tomes such as the Corpus Hermeticum,  Poimandres (The Divine Pymander) of Hermes Trismegistus, and The Emerald Tablet of Hermes Trismegistus lend insight to the nature of alchemy and the evolutionary seeking of the Light, and in so doing attaining enlightenment.

“Part 2: The White” calls the reader into the next alchemical process – a state of purification by way of the ”light breaking out in and over our darkness”13. These chapters speak to the Light that is held within Nature and that we inherently have access to as both recipients and distributors. 

”When we go into the wilderness, away from the human-centric urban sprawl of pavement and concrete and noise, we surround ourselves with and are imbued with life from the light of nature.”14

“Chapter 7: The Transmutative Process” provides the reader with a blueprint, if you will, of the action of light upon and within all that exists. This reaches into the cosmic realms, the qualities of light that are imbued by the planets, as well as the luminaries of Sun and Moon. There is an interesting perspective presented by the author about the dynamics between Mercury, Saturn and Mars and the Sun, Venus and Jupiter as counterpoints of light to the former as holding a state of darkness.  This concept also spills into the author’s use of the female-male polarities and its use in alchemical states as the Divine Marriage, relating back to the author’s knowledge of Rosicrucian philosophies:

“In the Rosicrucian images, you see the alchemical process expressed in the progressive union of a male and a female figure that transform through a sequence of images into a divine couple that becomes an androgyne, or youth-maiden.”15

(Note: these images are shown in color plates in the center of the title.)

This idea of the divine couple and the product of their union of polarities to create a singular source of light and illumination is presented as a means of enlivening a “community”. The community supports not only the individual but the union of those individuals and the product of those unions too. The ultimate gift of an intentional sharing and expanding of the “natural light” held within this way is of benefit to all. This is the creation of an alchemical culture.

“The alchemy of culture, or the alchemical culture, is an overarching theme of this book.  The alchemical culture is transmutation of ourselves, others, and nature through illumination.”16

To this end the goal is one of awakening and cultivating a natural state of being that is not affected by a culture steeped in the material gains and returns to one informed by the alchemical light of ancient wisdom that is needed now, more than ever.

“Part 3: The Yellow” focuses on the alchemical stage that is characterized as the golden/solar light. 

“White is the stage of purification, and with the yellow, we fully enter the phase of solar tincturing that goes beyond us as individuals… The ancient Mysteries , the collective experience of illumination in which the sun was said to shine at midnight, meaning that the golden light illuminated all and penetrated through the darkness, transfiguring us and all that surrounds us.”17

“Part 4: The Red” contains the final chapters of alchemical synthesis. “Chapter 10: Seeding New Cultures” paints a picture of a society that has fallen to the illusions of darkness, decay, materialism and nihilism. The next step is a post-apocalyptic world with meager technology and vast states of emptiness. And, according to the author, we are forced into reliance on local community, interconnectedness and the rebuilding through “archaic” means a new culture– a primordial culture based in alchemical light and aligned with a more natural order of spiritual and mundane evolution. 

“Primordial culture is revealed; it is illuminated from beyond a solely human-centered materialistic perspective.  In a primordial understanding, human beings, human families, and tribal groups are linked as clans with specific zoomorphic totems. The animals are those of the particular landscape and they are of course not only animals, but also spiritual archetypes, understood as guides, helpers and protectors… Primordial culture is a fusion of the natural, human and spiritual realms.”18

Would I Recommend?

Alchemical Lightwork is an interesting read that covers a lot of ground in the definition of “light”, “community” and “culture”. It is well written in the flow of connection towards the ultimate vision of an alchemically lit world that is the fusion of many different sources, the most important being that of the individual and the specific way in which that individual perceives and inhabits the world.

The foundational material of The Emerald Tablet by Hermes Trismegistus stands at the forefront of the alchemical processes being used, giving the reader a different way of approaching alchemy than through the lens of the traditional medieval alchemists. Additionally, the work of Thomas Vaughn, a notable Welsh alchemist, mystic, poet, and philosopher, serves as the underpinnings of the material presented in this title. 

Although it appears to be a quick read, this book is far from that. It serves the novice only in presenting varied sources for further exploration, but it is primarily written for those who have a baseline of knowledge in Hermetic teachings and Western alchemy. Having background knowledge would be helpful in distinguishing the subtleties between the author’s syncretic perspective and more traditional approaches.

About the Author: Dr. Arthur Versluis, Ph.D.

Dr. Arthur Versluis, Ph.D., is president of the Hieros Institute, a nonprofit devoted to realizing the sacred in contemporary life. The former chair of the Department of Religious Studies at Michigan State University, he has written numerous books, including Sacred Earth and The Secret History of Western Sexual Mysticism.

The Beauty Apothecary, by Lorraine Anderson

The Beauty Apothecary: Soulful Remedities to Foster Beauty Inside and Out, by Lorraine Anderson
Rockpool Publishing, 1923208012, 224 pages, March 2026

Beauty brings a quiet but powerful richness to life, shaping how we experience the world and ourselves within it by fostering presence and inviting us to slow down, notice, and connect more deeply. The Beauty Apothecary: Soulful Remedies to Foster Beauty Inside and Out by Lorraine Anderson highlights the value of fostering beauty in one’s life and presents a multitude of ways to enhance it day to day. Anderson shows that beauty is not a luxury, but a form of nourishment that restores, inspires, and reminds us that there is something worth savoring.

This sacred beauty bible invites readers to embrace beauty inside and out, blending self-care, spirituality, and ritual into a holistic approach to beauty. Rather than focusing on external aesthetics alone, the book emphasizes inner nourishment—mind, heart, and soul—as the true foundation of radiance. Anderson explores themes like self-love, self-awareness, and self-soverignty, while also offering recipes for more tangible beauty products for everyday use.

“It’s a metaphorical apothecary if you will, meant to address both a tangible sense of beauty through your physical body and environment, as well as an intangible sense of beauty through your emotions and spiritual connection.”1

Divided into three parts, the book begins with an exploration of beauty archetypes. Anderson has designed a quiz for readers to discover which of ten beauty archetypes they embody. The multiple choice questions get you reflecting upon things like what self-care means to you and when you feel most beautiful. I was quite surprised to realize how  much I enjoyed sharing beauty with others by my answer choices, revealing the Lover archetype as my most dominant!

For each of the archetypes, Anderson provides a whole profile. She details how each archetype fosters beauty as well as what drains their beauty. She provides insight into their approach to both inner and outer beauty, offering the best beauty strategies, restoration methods, and remedies for them. I gained a lot from my Lover profile, and I also really enjoyed reading through the different archetype profiles to learn about their essence and explore the many ways beauty shines in others. I’m sure my archetype might change, so I appreciate having this quiz and profiles handy to check in from time to time.

The other chapter in “Part I: The foundation of beauty” is an introduction to the items used for natural beauty products: plants and herbs, fragrance oils, essential oils, carrier oils, extracts, creams and lotions, salts and sugars, waters, and alcohols and witch hazel. While there are whole books written on these topics, Anderson gives enough information to make readers feel knowledgeable enough about these products to feel comfortable trying out the recipes later in the book.

“Part II: Nurturing Inner Beauty” has three chapters focusing on mind, heart, and soul. For each aspect of inner beauty, Anderson provides an overview, three aspects of “self” related to the principle (ex. Self-compassion for heart, self-awareness for mind), a chart of natural allies (essential oils, plants, and carrier oils), and rituals and recipes. From special Venusian candles to bath scrubs, yummy moon milk to grounding bed sheet powder, there’s so many neat DIY possibilities offered for fostering inner beauty.

In the last section, “Part III: Nurturing Outer Beauty”, Anderson offers a balanced approach to beauty, sharing her best beauty tips while also cultivating a grounded spiritual aspect to her approach too. Suggestions like building a beauty altar and performing a sacred adornment ritual set the stage for the wide variety of recipes to follow.

The chapters focus on everyday beauty and then beauty for hair, body, and fragrances. In this part, the recipes are a bit more elaborate, guiding readers to work with base products (carrier oils, lotions), specific ingredients (herbs, essential oils), and tools (double broiler or crock pot, the right containers for the items). These acts of cultivating beauty often require time and intention, asking us to pause in a world that rewards speed, but the investment is a worthwhile one.

All throughout, Anderson’s writing tone is gentle, affirming, and spiritually infused. Her style imparts wisdom while also engaging the intuitive, emotional side of readers too. While informative, Anderson presents content that is calming and reflective, reading less like a manual and more like a guided self-devotional text. Her holistic approach to beauty is refreshing, opening up readers to the energetic state of beauty in addition to the physical appreciation of it.

And given the topics covered, it only makes sense the book itself is balanced, beautiful, and visually alluring. Different texts and fonts, bullet points, and soft color tones make the content easy to absorb. The illustrations infuse the text with the beauty of the natural world and provide a place for your eyes to rest while your mind wanders.

So far, I’ve mostly focused on bath salts and sugars–my favorite type of beauty care. But I am looking forward to branching out to try more of the recipes this summer when I have a bit more time on my hands. For now, the reflective questions in the inner beauty sections are serving as guides for my spirit, inviting me to explore more deeply what beauty means to me and how I can cultivate it in my life.

Overall, I highly recommend The Beauty Apothecary for those seeking a bridge between beauty rituals and spiritual practice. Anderson’s approach honors and highlights beauty in ways that feel interactive rather than just conceptual. Readers who view self-care as sacred or who want to deepen that perspective are sure to appreciate the blend of embodied practices, recipes, and inner exploration, making for a variety of ways to connect with the material. The integration of emotional well-being, spiritual alignment, and self-perception into the concept of beauty is a welcomed approach to wellness.

About the Author

Lorriane Anderson is a tarot reader, astrologer, spiritual teacher, and entrepreneur whose work centers on intentional living and spiritual transformation. She is best known for her Seasons of the Witch oracle series, though her other titles are amazing too, such as Moon Apothecary and Witching Hour Oracle. Anderson also operates spiritual education and product-based businesses, including Spirit Element and Made with Stardust. Her writing is deeply informed by ancestral practices and modern spiritual frameworks, aiming to make ritual and energetic work accessible in everyday life.

Pagan Portals – The Muses, by Irisanya Moon

Pagan Portals – The Muses: Calling to Creativity & Inspiration, by Irisanya Moon
Moon Books, 1803417463, 120 pages, March 2026

Sing me, O Muses, of the hallowed acts of creation–all descendants of Memory and delivered through divine inspiration! That is the task Irisanya Moon sets for herself in Pagan Portals: The Muses Calling to Creativity and Inspiration, a beautiful introduction to the energies and personalities of the nine Muses depicted in Greek myth and religion. Naturally, the domains of these goddesses are not fixed to the ancient past–inspiration for all manner of creative pursuits strikes us just as frequently and inexplicably today as it did for our ancestors throughout the ages.

One of the most interesting features of the Muses, both as a group and individually, is that very few stories or sources directly discuss these figures. While the Muses are invoked in almost every ancient Greek text, these deities primarily participate in the creative process itself rather than serving as the subject of the creation. Moon advises the reader that although each of the traditional nine Muses (which doesn’t mean there couldn’t be more!) is associated with certain kinds of creative activity, “it’s not necessarily about doing as they do. It’s more about being inspired by their gifts to unfold your unique kind of creativity.”1 Thus, although the reader will learn about the Muses, Moon’s focus is connecting the reader with the Muses in their own life and art.

Moon is adamant that, even if you know nothing about the Muses as deities, their inspiration will nevertheless be granted if you show up to the creative process. Whatever you are trying to create, openness to inspiration from unexpected directions and the curiosity to follow where it leads is just as important as any ritual or practice designed to call upon and connect with these mysterious figures. And further, since this openness and curiosity do not depend on any particular artistic medium or domain of life, everyone has access to the Muses’ gifts and possesses a unique creative capacity that can be shared with the world.

While Moon says it is perfectly fine for readers to skip to the final chapter(s) of her book, which are explicitly devoted to cultivating a relationship with the Muses, she also suggests that learning the “facts” and stories about these deities can create a strong foundation before embarking on a relational journey with them. Half of the book’s eight chapters are dedicated to these foundations, covering the origins of the Muses and other myths in which they appear, their relationships with other deities and humans, the creative domains traditionally ascribed to each of the nine goddesses, as well as the historical cults devoted to the Muses and their gifts. 

Although the descriptive section for each Muse is quite short, each contains a passage from a historical source, which helps set the deities in their original/mythic context. As a lover of etymology, I very much appreciated how Moon breaks down the Muses’ Greek names! E.g. Clio presides over history: her name is derived from kleos, the “imperishable glory” sought by heroes so their lives and deeds would not be forgotten. This was incredibly helpful in connecting the energy/essence of each Muse to their associated artistic expressions, physical appearance, myths, and suggestions for how to cultivate a relationship with the deity. And in the chapter elucidating more, “Stories and Myths of the Muses”, I was intrigued to learn the Muses often act as judges in contests of creative expression, and are even provoked to terrible wrath by hubristic mortals.

The very first exercise that Moon shares with us contains her preferred technique for contacting any godd (god or goddess): the use of a trance state. Unlike some guided meditations or visualizations, Moon employs neutral, trauma-informed language that affords each practitioner an experience unique to their needs. Trying this out for myself, the beautiful and evocative script helped settle me deeply into a liminal state, while the built-in pauses created the space for inspiration to alight.

Another insightful exercise centers around a question one has about a creative pursuit. By making an effort to remember this question throughout the day (not just during rituals), especially during embodied creative pursuits, one will become more open and attentive to inspiration regardless of how it happens to show up. This allows the Muse(s) to speak to us on their own terms, in their own “language,” which may be as subtle as how the light dances across the water or the feeling we have when someone speaks our name. 

Moon also takes the opportunity to address how the Muses’ gift of inspiration has become maligned, especially in light of the capitalistic, product-focused creativity we can observe in the world today. This is due in part to “Western culture’s commitment to being ‘self-made.’ One can’t claim to be inspired as it means they aren’t enough alone. Or if they aren’t making money from their inspiration or inspiring others, it’s not ‘real’… Or if someone just ‘gets’ an idea, then they aren’t really doing things on their own.”16

Although short, this critique feels extremely potent for our ego-driven world, where individuals attempt to claim sole credit for an artistic achievement or use their inspiration only in service to profit. Such denial of the Muses’ inspiring presence or putting their gifts in service to another godd (e.g. Money, Mammon) certainly tempts the wrath of the Muses, as Moon discusses earlier.

As a final note, Moon is wonderfully playful with her approaches to cultivating relationships with the Muses. She constantly invites the reader to try new modalities for opening up to the influence of these deities. Acting exercises such as Theatre of the Oppressed can broaden one’s perspective by playing different parts in the drama, or an improvised scene can be like opening a direct channel to the Muses’ creative gifts. Such methods help one come to know the Muses by playing their role as an inspiration for others: being an inspiration not just receiving it. Being an inspiration for the creative work of another may not be intentional (or even desired), but in simply following one’s own inspiration, the gifts of the Muses radiate into an ever-widening field of beauty and creation!

Tarot and the Psychology of the Soul, by Mariana Louis

Tarot and the Psychology of the Soul: Exploring the Archetypal Mirrors of the Psyche, by Mariana Louis
Weiser Books, 1578638984, 320 pages, March 2026

People are drawn to tarot cards for all kinds of reasons. Some come to tarot out of curiosity or a desire for guidance during uncertain moments, while others are pulled in by the imagery, symbolism, or a deeper spiritual calling. That range of motivations is exactly what makes tarot such a versatile tool, and Tarot and the Psychology of the Soul by Mariana Louis takes this a step further by redefining what the cards can offer.

In Tarot and the Psychology of the Soul, Louis  does not position tarot as an oracular tool, but rather as a mirror of the inner world. Coming from the lens of depth psychology, she frames the cards as archetypal symbols that reflect both conscious patterns and unconscious material, inviting readers into ongoing inner work rather than one-off readings.

“In this approach, which you will be guided through in this book, we do not read the cards for predictive divination or even encouraging self-care, but as a tool to support our individuation, the psych-spiritual process of self-becoming.”19

Following an engaging introduction that establishes the foundation of the book, the content is divided into four parts. “Part 1: Depth Psychology and the Analytical Approach” covers the basics of depth psychology: individuation, the strata of psyche, and archetypes, synchronicity. Louis also presents the framework for working with the cards archetypally, teaching readers how to build a relationship with the cards, strengthen their intuition, and form questions that draw the best response. Techniques shared, such as active imagination and shadow work, are portals for deeper self-excavation. Louis has a knack for making these complex topics approachable, ensuring concepts are well defined and clear to readers before building on the information she’s presenting.

“Part 2: The Minor Arcana” begins to get deeper into the cards themselves. Louis explains, “the Minor Arcana show us the dynamics of our psyches, revealing its inner conflicts, strengths, processes, and neuroses.”20 She draws a parallel between the four suits and Carl Jung’s theory of personality which focuses on the four functions we all possess (thinking, feeling, sensation, and intuition). She then proceeds to delve into archetypal numerology and applies Joseph Campbell’s hero’s journey to the Pips, which was totally fascinating in my opinion and one of my favorite sections!

From here, Louis moves through both the Minor Arcana and Court Cards, providing insights of the traditional meanings from the perspective of depth psychology. She moves suit by suit, she covers both the upright and reversed guidance the cards have to offer. As mentioned prior, Louis’ insights are not predictive, so the focus is on the inner workings of the reader. For instance, part of the Five of Wands entry reads:

“We often find ourselves involved in a battle between our contrary drives, perspectives, and complexes. One part of us fights to focus on career, while another demands we face our self-doubt, while yet another begs for relaxation. Rather than be riled to the point of explosive frustration, we must make room for each of the voices within us to speak and release its energy.”21

Before covering the Court Cards, the chapter “The Many Faces of the Tarot Court” covers additional depth psychological concepts, such as projection, persona, typological maturity, and complexes. Whereas the interpretations for the Minor Arcana cards are written in the first-person “we” form, the Court Card descriptions are in third person, presenting each one as an individual to be identified as a part of our whole self. Louis uses mythology and fairy tales to highlight the nature of the Court Cards, further providing a way for readers to connect with each card’s archetypal energy.

In “Part 3: The Major Arcana”, Louis shows readers how the Major Arcana reflects the entire journey of individuation. Beginning with the Magician and ending with the Fool (such an illuminating layout), she guides readers through the archetypal tarot framework. For each card, she gives an overview of the symbolism, often relating it to alchemy, mythology, and even pop culture (Yoda and Gandalf energy comes through!) as well as including insights from well known depth psychologists (James Hillman, Marion Woodman).

The whole archetypal journey moves from the primordial powers to the birth of the Self through the emergence of the shadow to finally arrive at wholeness. Simply reading this section is very inspiring, introducing a deeply meaningful philosophy of life as mirrored in the Major Arcana. The interpretations Louis provides for the card appearing in a reading–both upright and reverse–shed light on the parts of yourself and life journey that are calling for acknowledgement, pointing the way towards integration of the energy.

Louis’ presentation of each card from a psychological lens really hits home. She perfectly captures the balance between esoteric and mundane, honoring the liminal spaces where the psyche speaks. I could feel the messages in the heart as I read them, and some even brought me to tears. Here’s a few lines from one of my favorite cards, the Star, when it appears in a reading:

“The Star comes to remind us of our potential and higher purpose. Now is the moment to claim–without a word of rebuttal–I am special and I have meaning in this world. With the Star risen before us, we are invited to develop the security that only comes when we are at peace with ourselves.”22

The final part, “Reading with a Psycho-Spiritual Lens”, guides readers through the ritual of reading tarot and offers archetypal spreads. Louis lists steps for preparing for a reading and then interpreting the cards. The spreads offered focus on synthesizing this content in the book thus far, offering card placements that reflect depth psychology themes: tension of opposites, inner work, and unconscious/conscious/higher calling. While there’s many directions one could build from with this book, this section is a great starting point for the journey.

Overall, Tarot and the Psychology of the Soul is just a true gem for cultivating a relationship with the psyche. Rather than teaching how to memorize rigid meanings or predict the future, Louis teaches readers how to use tarot as an access point into the on-going, life-long work of becoming whole. She gives structure to inner work practices that can often be abstract, helping readers engage with their psyche in a tangible way.

As someone who spent many years studying both depth psychology and tarot, I was genuinely impressed by the scope and content of this book. Louis’ insightful intelligence shines through every page. The time she’s dedicated to cultivating this approach, bridging these two potent systems for self-reflection, is evident.

Those with an interest in psychology, particularly archetypal studies, will find a wonderful introduction to the tarot cards, while people with a tarot background are in for a real treat with the comprehensive approach Louis offers, sure to enhance anyone’s reading style. By grounding tarot in archetypal and depth psychology concepts, Louis offers a language that will resonate with modern spiritual seekers who want to explore their inner workings more fully. This style of working with the tarot is perfect for self-guided healing and introspection.

About the Author

Mariana Louis is a contemporary tarot teacher and scholar known for her psychologically oriented approach to the cards. She transitioned from a background in musical theater into the world of tarot, eventually becoming a recognized voice in the space, with a strong online following and teaching presence. Her work is deeply influenced by depth psychology and archetypal studies. Beyond this book, Louis shares offerings through her platform Persephone’s Sister and spreads her wisdom on her podcast Soror Mystica, co-hosted with Cristina Farella. I definitely recommend checking it out if you’re interested in this topic. I did a deep dive into the podcast and loved it!

Crystal Keys Tarot, by Dina Rosenberg and Amalia Drewes

Crystal Keys Tarot, by Dina Rosenberg with artwork by Amalia Drewes
Weiser Books, 1578639050, 176 pages, 78 cards, April 2026

If you’ve spent any time working with both tarot and crystals, you already know how naturally those two energy systems speak to each other. Crystal Keys Tarot by Dina Rosenberg with artwork by Amalia Drewes leans fully into that intersection, offering a tarot deck that doesn’t just reference crystal energy, but builds its entire interpretive structure around it. The result is an oracle system that feels familiar on the surface, yet slightly refracted, like looking at classic tarot through a mineral lens. I love it!!

Creator Dina Rosenberg brings decades of tarot experience to this deck, along with a strong grounding in metaphysical practices as the co-owner of Amityville Apothecary and The Anenaeum of Amityville Apothecary in Long Island, New York. Amalia Drewes, an illustrator inspired by nature, spirituality, and myth, contributes artwork that aligns closely with themes of energetic resonance and transformation . Her artistic voice plays a major role in shaping the deck’s identity, especially in how the cards visually embody crystal forms and textures.

The deck follows the traditional Rider–Waite-Smith (RWS) tarot framework, making it immediately readable for most tarot users. Each of the 78 cards is paired with a specific crystal energy that aligns with the card’s energy, adding an extra symbolic layer to interpretations. However, the crystal for each card isn’t reflective of traditional correspondences for the cards; rather, Rosenberg spent an entire year feeling into the energy and channeling each card’s crystal. The deck integrates the crystal into the identity of each card, making for an intuitive symbiosis that brings new facets of the tarot archetypes to light. Rosenberg explains:

“You will see that our focus is about the energy and feeling of the cards, infusing the tarot archetype with the crystal, and vice versa, more so than fitting all the traditional symbols, colors, and images into each card. The goal is to distill each of the seventy-eight cards into a feeling that is truly relatable and pair that feeling with a crystal that supports the specific energy.”23

The cards are standard playing card size, allowing them to fit nicely in your hands while shuffling, with gilded purple edges. Each card leans heavily into a single dominant color family, mirroring the crystal it represents: cool aqua blues (Amazonite), golden yellows (Golden Labradorite), warm orange ambers (Tangerine Quartz). The tone variation within each color gives a dynamic feel to the imagery, making the imagery look slightly hypnotic.

While some cards have a non-descript figure, most feature animals, crystals, or simply the card symbol (Swords, Pentacles, Wands, and Cups). There’s a dreamlike, slightly surreal quality, but it’s not chaotic or symbolic-heavy like some decks. Rather, edges are softened, forms blend into each other, and perspective feels fluid rather than fixed. It gives me the fantastic feeling of entering the crystal realm, as the imagery seems like it has emerged from the crystal itself, emphasizing texture, aura, and energetic presence rather than narrative scenes.

Figures, symbols, and landscapes are etched in crystal, shifting the reading style from story-based interpretation to something more vibrational and intuitive. I would liken the cards more to  energetic imprints than “scenes” being depicted in more traditional tarot such as RWS deck. I personally love how it de-centers human representation and taps into the energy of the natural world instead. I can see how Drewes is portraying the essence of each crystal in the card while also capturing the card’s meaning as well; it’s truly spectacular artwork.

As for the guidebook, it’s nice and big (about 4 x 5 inches), easy to keep open to read, and has full-color illustrations. For each card, Rosenberg provides an overall description of the card, covering both the tarot meaning and the energy of the crystal plus how they come together, an affirmation, and a few-word summary of what pulling the card meanings in a reading.

I really like her voice in the guidebook, as she sometimes shares her own experiences in life, ranging from the heartbreak of divorce to opening and running her shop, while also explaining what the card is asking of the reader and how the crystal energy can be used for support. I appreciate the infusion of her energy into the wisdom in the guidebook. While Drewes’ imagery is quite dreamy, Rosenberg’s perspective is much more “tell it like it is”, which I always appreciate when it comes to spiritual matters and divination (it’s the East Coaster in me – made sense when I saw that Rosenberg lives in New York!). I’m not left with more questions and an invitation for more reflection when I come seeking guidance; I get a clear answer, practical advice, and affirmation, and a crystal energy to work with further.

Here’s an example of how Rosenberg blends both tarot wisdom and crystal energy in the guidebook:


“The Eight of Cups is confirmation that you’re right–the vibes are off. Maybe on the outside everything looks fine. And sure, you could ignore that whisper inside, push it down, keep going. But you know. Deep down, you know. This phase of your life has run its course. . . .

Pink Opal assists in following the whispers of the heart towards your true, authentic path. As a crystal of renewal, it reconnects you with yourself and what you truly want on a soul level. While it reminds you of who you are, it brings peace, soothing calm, and relaxation so as to not overwhelm the nervous system when difficult choices must be made.”24

I just love how Rosenberg speaks to the reader in the guidebook, dialoguing directly with their spirit instead of just reciting a generic message for the tarot. This guidebook is truly one of a kind in how she blends different energies into something meaningful, potent, and insightful for the reader. More than a route interpretation, a living exchange unfolds on the page—one that invites reflection and personal resonance rather than passive consumption. It feels less like being told what a card means and more like being guided toward discovering how that meaning already exists within you.

Overall, Crystal Keys Tarot is less about reinventing tarot and more about reframing it. This deck takes a familiar system and filters it through the language of crystals, creating a deck that feels grounded, intentional, and energetically focused. Drewes’ artwork brings the crystal world to life, perfect for readers who are seeking an intuitive deck that taps into an energy that goes beyond the personification of court cards and the major aracana cards with people on them. There’s plenty of room for intuition to piece together the story with these cards.

Similarly, those drawn to working with crystals will also really appreciate the aesthetic and guidance from this deck too. Rosenberg has done such a wonderful job weaving together the energies of tarot and crystals in this deck, aptly capturing the unique wisdom this combination brings for the message of each card. So far, this has been my favorite deck of 2026 and I look forward to continuing to work with it!

A Grimoire of Italian Witchcraft, by Raven Grimassi

A Grimoire of Italian Witchcraft: Practical Spells & Rituals of the Old Religion, by Raven Grimassi
Crossed Crow Books, 1964537584, 276 pages, February 2026

My ancestors were from Italy. And while it appears I belong to a longtime staunchly Catholic family–while reading this book, my 89-year old Italian-American Grandmother picked it up and said, “What the hell is this?”–I can’t help but (wishfully) believe there is some lingering Italian folk magic within my veins. This has led me on a quest to learn more about neo-Pagan Italian witchcraft, or Stregheria. Having read other books by author Raven Grimassi, I was drawn to A Grimoire of Italian Witchcraft because it offers lore, spells, rituals, and teachings intended to bring this tradition into everyday magical practice.

As someone looking to build a foundation from the ground up, this book was a great starting point. Grimassi covers a variety of topics in this book, providing a structural overview of Italian spirituality, folklore, and ritual practices for those interested in the Old Religion. The book begins with a synopsis of Italian witchcraft and offers a ritual of dedication to begin one’s journey on this path. Grimassi also discusses Lasa and Lare, spirits who protect the Old Ways, encouraging readers to build a shrine as part of this work.

Chapters four through seven–”Making Contact”, “Sign and Symbol”, “Raising and Drawing Power”, and “The Art of Magick”–focus on core magical concepts but from the perspective of Italian witchcraft. For instance, there’s illustrations of physical poses to connect with the Grigori, “the entities that guard the ritual circle’s portals”24, as well as tables for symbols important in this tradition (Eight-Fold Path, Tanus (light), The Spirit of Aradia, and many more). Grimassi covers God and Goddess currents, explaining how energy flows through the body and teaching how to raise this power and move it accordingly. He also covers different types of magic and mechanisms of magic, noting the overlap between witchcraft and magical energy and components of ritual magic.

Chapter eight “Aradia, Woman of Power” and chapter nine “Moon Tree” delve more into the folklore of this path. The story of Aradia, popularized by Charles Leland, and her relevance to Italian witchcraft are explained. The symbol of the Moon tree and its ancient and esoteric meaning are also discussed, providing fascinating coverage of this lore.

The final four chapters– “Magickal and Ritual Gestures”, “Italian Folk Magic”, “The Ritual Tools”, and The Rituals”–are the practical “how-to” of the book. Readers learn the gestures and poses associated with Italian witchcraft, including “Calling Down the Goddess”25. Then there’s guidance about the saints and archangels to work with along with traditional spells and enchantments (silencing gossip, gambling, blessings). Additionally, all the tools needed are covered, including how to prepare them for use.

As for the rituals, they are varied but written out in full, so the reader can easily follow the script. Grimassi includes a ritual for a full moon and then all eight of the tregenda, or sabbats (Shadowfest, Winter Solstice, Lupercus, Spring Equinox, Diana’s Day, Summer Solstice, Cornucopia, and Autumn Equinox). To me, they were very traditional rituals, reminding me a lot of traditional Wicca, so I would probably adapt them, but they still serve as a good starting point.

The Appendices are also filled with a ton of additional information about Strega. Grimassi provides a history of the Old Religion, overview of the main deities, lists important plants and their uses, shares some Italian lore, an overview of palmistry, and more! It’s almost like all the neat other stuff that didn’t fit neatly into the structure of the book got put in the appendices, and I enjoyed it very much!

Compared to other books on this subject by Grimassi, A Grimoire of Italian Witchcraft functions much like a structured magical handbook (hence it’s name!). More than focusing solely on theory, the book is organized around practical application, presenting spells, rituals, and devotional practices that draw from the imagery and mythology associated with Italian witchcraft to make for a year-round meaningful practice. From workings related to seasonal observances to the ritual tools used, this book lays out an entire Stregheria practice that is accessible to modern practitioners.

What’s nice about the book as a whole though is that it also includes history that bridges past and present. Grimassi explains how this magic has evolved through time, dating back to the cult of Diana referenced as early as 30 BC, situating readers in the lineage and offering a connection to the origins of this magic. I really enjoyed the table of Old Gods of Tuscany and their Roman correspondences in “Chapter 3: Between Worlds”, as I previously hadn’t heard of any of these deities before.  Tapping into the historical roots of Italian spirituality made me feel like a portal was opening to all those who walked this path before me, even if it wasn’t technically Strega. There’s still this deep connection I felt towards those who honored nature and the old gods and goddesses in this way.

Overall, A Grimoire of Italian Witchcraft continues the legacy of Raven Grimassi’s work by presenting Italian-inspired witchcraft as a living and accessible tradition. The book emphasizes practice over theory, offering readers a collection of rituals and magical exercises rooted in Italian history and Pagan spirituality. In this way, the grimoire attempts to serve both as a reference text and as a working manual for those interested in exploring the path of the Strega. I definitely plan to continue to refer to it as a I connect with my Italian ancestors.

About the Author

Raven Grimassi (1951–2019) was a prolific American writer on witchcraft, Wicca, and Neopagan spirituality, publishing more than twenty books throughout his career. He is particularly known for popularizing Stregheria, a form of Italian-inspired witchcraft that blends folklore, historical research, and modern Pagan ritual practice. Grimassi was also a practicing Wiccan priest and a teacher within Pagan communities for decades, shaping the way many modern practitioners encountered Italian magical traditions.

Ogham, by Jane Matthews

Ogham: Divining in the Celtic Way, by Jane Matthews
Weiser Books, 1578638909, 192 pages, 25 cards, March 2026

Ogham: Divining in the Celtic Way by Jane Matthews is a beautiful way to connect with powerful Celtic knowledge. Based on the earliest Irish written script, Ogham is rooted in the Celtic belief system. While most associate Ogham with corresponding trees–Matthews notes these correspondences were added later for Druids and Bards to remember the meanings of each letter–there’s plenty of wisdom within the letters themselves. She writes of the Ogham:

“The meanings all bring a duality with them. There is light and dark in each, and this makes them truly unique in how they present themselves.”1

This 25-card oracle deck is divided into four “families” called aicme, which are similar to the Futharks in the runes system for reference. Within each aicme is five fedha, or characters of the Ogham alphabet. At the start of each section, Matthews describes what each aicme deals with, illuminating the overall theme of the fedha in that section. The other five cards in the deck are the forfeda, which are the “additional letters”26.

Each one is color-coded, so once a reader is familiar with the deck, they will be quickly able to discern which aicme the card is from. The fedha cards are dark blue, violet, indigo, and dark, while the forfeda cards are a contrasting bright white. All the cards have the same layered botanical pattern in the background, making the focus the golden Ogham glyph in the center and name at the bottom of the card.

Aside from the shift in color and Ogham glyph, there’s not much variation in the visuals of the cards, giving a clean and simple aesthetic. It’s a restrained design overall, but it works well for a system like Ogham where the power of the symbol is meant to stand on its own. It makes me imagine how these symbols would have appeared carved into wood or stone.

There are no corresponding numbers, so when first working with the deck, readers will most likely have to reference the table of contents in the guidebook to find the page of entry.

As for the guidebook entries, for each fedha card listed is the associated tree, keyword, letter, stroke bearing, and pronunciation. Matthews then gives insight about the Ogham’s particular message, providing further specific information within the context of a relationship, work, and health. I really enjoy all of Matthew’s insights, particularly into health, an area of life that I had never considered to engage with the Ogham’s energy. All of the advice she provides is very grounded, acknowledging the energies in play with clarity and directness.

What surprised me the most was how the messages did not at all focus on the aspects of the trees associated with each Ogham. I actually really enjoyed this because all I’ve read about Ogham previously is specifically focused on the spiritual properties of the corresponding tree, rather than the symbols themselves. Getting to know the symbols on their own has been quite illuminating, particularly Matthew’s insight into the brush strokes that highlight the pathways to the Underworld, World, and Otherworld.

“When you’re looking at the fews in this way, it is easy to see how all paths come through our world, and that means that we have the answers to all that has been and all that will be–it is all at our fingertips, in this world for us to seek and understand. This world is a portal to all worlds and all the information that all worlds possess.”27

I also really enjoyed learning about the forfedha, which Matthews describes as “important on an esoteric point as they provide cosmological and directional signs.”28 They provide a map of the cosmos that can be then arranged as a casting mat or placement holder for reading with the deck. Matthews shares quite a bit about working with the forfedha, including using them in spreads (What Am I Spread, Spiral Spread, The Four Directions, and Celtic Cross) and in casting one’s own Ogham set.

Additional sections in the guidebook focus on using Ogham for magical purposes and a meditative framework for understanding Ogham, which provides a journey through The Underworld, This World, and The Otherworld. I definitely would recommend doing these meditations before working with the deck, as it really helps to center oneself within the belief system from which the Ogham emerged.

My only gripe with this deck is the guidebook is very tiny and hard to hold open and read. I kept trying to reference the spreads, but the book would close and then I’d have to flip it open again and try to keep the pages open. And whenever I use some force to do this, the binding then gets a bit messed up, creating a gap in those pages.

Overall though, Matthews has provided a wonderful resource for those who are seeking to connect with the Ogham, especially in a way that goes beyond the nature-based perspective that all too often focuses exclusively on the tree associations. The content in the guidebook offers both spiritual reflection and practical direction, providing a great balance for wisdom seekers. And, quite notably, the additional information about the forfedha is a real bonus for deepening one’s work with the Ogham.