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The Tameless Path, by Kamden Cornell

The Tameless Path: Unleashing the Power of Invasive Plants in Witchcraft, by Kamden Cornell
Crossed Crow Books, 1959883631, 306 pages, August 2024

In recent years, there’s been a shift in how plants are used in magical practices. There have always been ways to obtain ingredients for spells or other workings, but the events during the last few years have seen many people foraging for their own elements. Without overly generalizing, it seems as though anyone with access to an outdoor space has taken advantage of that and started to grow their own herbs and such. But how many people actually forage, as in go into the woods and search endlessly for plants that grow wild only in certain spots? And how do you make sure that what you are gathering is safe and not harmful to children or pets?

Enter The Tameless Path: Unleashing the Power of Invasive Plants in Witchcraft, by Kamden Cornell. If Rachel Pollacks’ 78 Degrees of Wisdom is looked upon as the definitive book on tarot, then Cornell’s book will certainly be a top contender with respect to plants. Cornell is no stranger to plants: they currently teach classes on witchcraft, occultism, herbalism, wortcunning, foraging, and invasive species wildcrafting in their region. They also work as an apothecarist and own a small, witchcraft-oriented business that focuses on herbal remedies, ritual goods, and education. To say they are qualified is an understatement.

“What we call “weeds” have been used as remedies and food for thousands of years in the regions they were native to before being transplanted to our own soils.”1

One of the first things I questioned when I picked up this book was relevance to me personally; after all, I don’t live anywhere near the author. Looking at the table of contents quickly relieved me of that fear as I saw many familiar plants that grow in my area listed. The chapters on alchemy, planetary magic, and various methods of plant preparation are well written and provide information that will lead the reader to a deeper understanding of the connection between plants and the universe.

There are two table of contents pages: one showcases chapters divided thoughtfully into a pattern that makes sense in terms of content, and the other is a full listing of spells and recipes by weed. Both are comprehensive and well laid out, but it’s the spells and recipes that drew me in. While some of the spells seem whimsical in terms of their ingredients, knowing what can be substituted for the more arcane and less available tasks is vital. Knowing a bit of herbology and spellcraft would be useful here but isn’t necessary as long as the internet exists!

Chapter 4 is my favorite as it deals specifically with choosing the method of preparation and provides clear instruction on how to do so. The preamble for the directions is very informative and provides a ton of guidance around the processes. There is also a disclaimer regarding using words such as medicine or medicinal, as Cornell is very clear to reiterate that “nothing in this book is intended to be a substitute for medical treatment.”2 The author is very clear about personal safety and recommends being in the care of an allopathic physician should one choose to utilize herbal protocols in any way. 

Cornell goes into great detail in each section of this chapter, explaining common terms that relate to each section such as tisane and strewing blends. Most people who pick up this book will probably have some knowledge around these terms, yet Cornell goes deep into each area and ensures there are no stones left unturned. I appreciate that immensely as there is no need for cross referencing: everything you need to know is contained in one book. How convenient!

Perhaps the most interesting part of the section is the alchemical one. Not being familiar with this specific method myself, I devoured the section and made notes. I was under the impression that processes like distillation were complicated and involved so many containers and apparatus, and I was right. Probably not something I could do in my tiny apartment, but a girl can dream. I love the idea of distilling my own supplies, but the reality is I cannot. Not the first time I’ve been disappointed but at least it’s not with the book.

The Tameless Path is perfect for those who are interested in the path of herbology and want to deepen the practice. Chock full of information that isn’t readily available elsewhere unless you dig deep, this book provides clear and concise information as well as a variety of accompanying methods and recipes for a well-rounded literary journey through the land of herbology. Practical and magical, I will be gifting copies of this book to a few of my green-thumbed friends, who might be persuaded to share the fruits of their labour with me.

Elemental Spirits, by Jaq D. Hawkins

Elemental Spirits: Building a Magical Practice in an Animistic World, by Jaq D. Hawkins
Crossed Crow Books, 1959883569, 294 pages, August 2024

Elemental Spirits: Building a Magical Practice in an Animistic World by Jaq D. Hawkins is a fascinating journey into the world of animism and elemental magic. Drawing on decades of experience, Hawkins presents readers with a comprehensive guide on connecting to the elements to develop a spiritual practice grounded in the natural world. She emphasizes the importance of forming a personal connection with nature, encouraging readers to view the world as filled with energy we can learn to draw upon and work in harmony with.

“When I speak of elemental spirits, the reference may refer to a wider spectrum of spiritual essences as well as more individualised spirits of different kinds. I’m basically an Alchemist and an Animist. I believe that everything that exists has a spiritual nature, including things that are manufactured. Everything is made from basic elements that begin in nature, after all.”3

In this book, Hawkins provides a detailed exploration of the elements—earth, air, fire, water, and aether—through a variety of perspectives. Most of the chapters focus on an overarching topic that delves into the perspective of each individual element. These topics include the animistic view (the nature of the element), folklore of the elemental spirits, locations to find the elemental spirits, how to perceive the spirits (actually see them), folk magic to work with the elements, formal elemental rituals (both outdoors and for specific tasks), creating elemental thought-form servitors, divining with the elemental spirits, and elemental spellwork.

One chapter that deviates from the general format delves into correspondences (astrological, alchemical, and incense), along with the numerology, including magic squares, and associations between “creatures, plants, and colours.”4 The other one covers tree lore, bird lore, holy wells, and dance.

With so many approaches to each element, readers really get to know the characteristics and energies of them. The book is enriched with practical exercises designed to help readers develop their skills, including meditation techniques, visualization exercises, and rituals that facilitate a deeper understanding of elemental spirits. Hawkins’ instructions are clear and concise, making them easy to follow for anyone looking to incorporate these practices into their daily lives.

This is a book readers will absolutely come back to over and over again because there’s SO much information! At first, I tried reading it all the way through, but it started to feel overwhelming to absorb so much at once. Instead, I decided to pick the element I wanted to focus on (air) and read the chapters on air that called to me. Hawkins writes of air:

“As an element, Air rules intellect, thought, the first steps towards creation, movement, pure visualisation, spells involving travel, instruction, freedom, obtaining knowledge, discovering lost items, and uncovering lies. It is the element of dreams and plans, goals, and inventions.”5

I learned so much from Hawkins about air!!! First, I discovered that banshees and night-elves are forms an air spirit might take. My perception of air was then expanded by Hawkin’s assertion that “it is the Air spirits who we are most likely to respond most strongly to on the subconscious level.”6 As someone with an air Mercury that squares Pluto, this makes a lot of sense about why depth psychology was my field of study. 

I also realized that I work with air much more naturally than I thought I did, as Hawkin’s descriptions of folk magic with Air elementals were pretty much already how I do much of my own practice! I enjoy inventing spells on the spot through using my intuition, and oftentimes, these spells involve singing silly chants that I make up and repeat over and over again. I also regularly write out what I want and charge it.

Some ideas I received from Hawkins about other things I can do are burn a sigil and then blow away the ashes to rid myself of things and hone my visualizing skills. My next steps with air? This weekend I plan to use Hawkin’s “Spell for Inviting Air Spirits Into the Temple or Home”7 to invite Air into my office space for inspiration.

I am really looking forward to taking my time and working with another element soon—which one is yet to be determined! To be honest, I am in no rush to “finish” this book, as it’s a field guide to working with the elements that I want to truly explore and delve into over time. By far, Elemental Spirits is the most comprehensive book on the subject that I’ve yet to find. Hawkins has written a treasure trove of information!

Overall, Elemental Spirits is a valuable resource for anyone interested in exploring the intersection of nature and spirituality through the elements. Hawkins provides readers with the tools to build a meaningful and personalized magical practice rooted in the natural world. Whether you’re a beginner or an experienced practitioner, this book offers insights and inspiration to deepen your connection with air, earth, water, fire, and aether.

Invisible Fire, by Nicholaj de Mattos Frisvold

Invisible Fire: Traditional Themes in Western Mysticism and Sethian Gnosticism, by Nicholaj de Mattos Frisvold
Crossed Crow Books, 220 pages, 1959883607, August 2024

Nicholaj de Mattos Frisvold’s Invisible Fire: Traditional Themes in Western Mysticism and Sethian Gnosticism offers a profound exploration of the starlit river of ancient wisdom that connects the diverse tributaries of Western spirituality. Drawing from a wellspring of Gnostic and Apocryphal texts, Frisvold illuminates the Primordial Tradition, turning our gaze to the heavenly realms of pure Platonic ideas where all mystical paths converge into a slipstream of cosmic consciousness.

Frisvold, a behavioral psychologist, anthropologist, and consecrated Bishop of Gnostic, Catholic, and Orthodox lineages, has spent decades studying a wide range of spiritual practices, from African-based traditions to European witchcraft. His scholarly analysis of ancient texts, combined with his poetic prose and engaging writing style, make these complex concepts more accessible to readers. Frisvold’s meticulous citations also provide a valuable resource for those seeking to dive deeper into the obscure texts discussed, providing a springboard for further exploration and independent research.

Divided into two parts, titled “Gnosis” and “Praxis,” this book offers both theoretical insights and practical guidance. The first section consists of essays on the Primordial Tradition, while the second provides a collection of rituals for personal spiritual growth. At the heart of Invisible Fire lies the Biblical figure of Seth, the third son of Adam and Eve, who replaced the slain Abel. From the Gnostic perspective, he is the embodiment of the Primordial Tradition and takes on a Christ-like role. “Due to his perfected state, Seth enters the world as a perfected one, the upright one, and, as such, becomes the symbol of redemption, prophecy, and tradition,”8 Frisvold says.

“Invisible Fire is about this legacy left by Seth and is explored through examining the Primordial Tradition and the Sethian themes found in Western Mysticism.”9 

Frisvold introduces the core principle of the Primordial Tradition as a non-dual cosmology centered on the interconnectedness of all things and the divine. This perspective rejects the dualistic worldview that separates the spiritual from the material, emphasizing the underlying unity of existence. In addition to this non-dual cosmology, the Primordial Tradition places great importance on divine revelation, the direct experience or understanding of spiritual truths. According to Frisvold, “these are paths of prophetic activity that focus on how we can connect to the Empyrean realm in such a way that we become subject to this revelatory fire that gives luminescence to stars and angels.”10

In the Primordial Tradition, God is considered the incandescent source and center of everything, both seen and unseen. Therefore, in our fallen, imperfect state, everything we experience is fragmented like a shattered mirror, the scattered shards reflecting distortions of the Divine Light. To truly understand the divine, we must transcend our material limitations and recognize that the physical world is a reflection of a higher, perfect order. This higher order can be understood through the stars, which represent a tangible manifestation of the divine.

Frisvold’s analysis of the Cain and Abel narrative offers a compelling interpretation that transcends dualistic notions of good and evil. Departing from the canonical portrayal of Cain as a villainous murderer driven by envy and wrath, the Primordial Tradition offers a more nuanced perspective, presenting him and his brother Abel as archetypal figures representing opposing forces within the human soul.

The story of Cain and Abel is not merely a tale of fratricide but a profound allegory of the dual nature of humanity, the clash of the divine and the profane. Cain, the hylic man, embodies the material and sensual aspects of existence, while Abel, the psychic man, represents the spiritual and intuitive nature. Their sibling rivalry represents the internal battle between the material and spiritual, waged within the heart of every human being.

Cain’s murder of Abel is not merely a senseless crime of passion but a symbolic sacrifice, a dark ritual that unwittingly sets the stage for a greater redemption. It is a catalyst for the emergence of Seth, the divine mediator, who bridges the chasm between the earthly and the celestial.

“When Cain murdered Abel, he sacrificed the flesh and released the spirit,” Frisvold says. “He did what needed to be done in order to become perfected.”11

Seth, the pneumatic man, embodies the divine spark that unites the material and spiritual realms. Through this act, Cain inadvertently paved the way for Seth’s revelation, demonstrating that even the darkest aspects of human nature can serve a higher purpose.

Frisvold explains that Cain’s murder of Abel was redemptive, much in the same way that Judas’s betrayal of Jesus paved the way for salvation. “It is the redemption of the soul from its material state that is enabled through the betrayer and the betrayed, the murderer and the murdered, dissolving the dyadic illusion and becoming one,”12 he says.

According to Frisvold, the white and black pillars standing sentinel at the entrance to the Temple of Solomon, Jachin and Boaz, symbolize the dual nature of humanity, manifested in the right and left-hand paths of Seth and Cain. Jachin, the pillar of understanding, reveals the mystery of Seth and the divine spark within us. Boaz, the pillar of confusion, represents the material world and the illusions that obscure our spiritual vision.

As Frisvold explains, “Ultimately, the pillar of confusion carries the secrets of Cain’s legacy as the pillar of Jachin reveals the mystery of Seth, which Cain made possible.”13 As the pillars of Jachin and Boaz stand before the Temple of Solomon, so too do Cain and Seth represent the twin forces of darkness and light. The profane and the sacred, the abyss and the empyrean, are not opposites but complementary aspects of the Great Work.

Frisvold’s insightful interpretation of the pillars aligns with the following passage from the Gnostic Gospel of Phillip: “Light and Darkness, life and death, right and left, are brothers of one another. They are inseparable. Because of this neither are the good good, nor evil evil, nor is life life, nor death death. For this reason each one will dissolve into its original nature. But those who are exalted above the world are indissoluble, eternal.”14

Frisvold’s analysis of the Cain and Abel narrative exemplifies the non-dualistic cosmology central to the Primordial Tradition, illuminating the interconnectedness of all things, even the seemingly contradictory forces within the human psyche. Cain is not merely a villain but a necessary catalyst for spiritual evolution. His actions, though seemingly dark and destructive, ultimately serve to illuminate the path to divine consciousness.

Seth, the third brother, emerges as a symbol of hope and renewal. He embodies the divine spark within humanity, the potential for spiritual enlightenment. Seth’s legacy is a testament to the enduring power of the human spirit, capable of overcoming even the darkest of sins. Thus, the tale of Cain and Abel is a timeless parable that teaches us the importance of balancing the material and spiritual aspects of our nature. By recognizing the divine spark within us and striving to overcome the limitations of our material existence, we can achieve spiritual enlightenment and liberation.

Frisvold also presents a non-dualistic perspective on the fraternal rivalry between Archangel Michael and Satan. “Bogomil doctrine teaches that Satanael, Michael’s brother, was forgiven for his mistake, and, as such, redemption already happened by the intervention of God, which made it unnecessary for Jesus Christ to die for a sin already forgiven,” Frisvold says. “Rather, Jesus came as an example and to light the fire of gnosis and wisdom. Saint Michael took care of the spiritual domain as the ‘Golden Tzar,’ and Satanael was given the material realm and to rule over as its ‘Silver Tzar,’ clearly referencing the two main luminaries of the heavens.”15

One of the most intriguing aspects of Invisible Fire is its emphasis on astral magic, the celestial wisdom Adam received from the angel Raziel and passed down to Seth.

“One who knows their star will know themselves, and from this, an ability of discernment that recognises the divine mirror upon the Earth will be born,”16 Frisvold says.

This passage really jumped out at me, because, a few years ago, one of my spirit guides told me in my sleep that my star is Aldebaran. The next day, I plugged fixed stars into my natal chart and was startled to discover that Aldebaran is exactly conjunct with my Sun at 9 degrees Gemini. I’ve been hooked on studying fixed stars in astrology ever since. 

In an essay titled “The Regent of the Milky Way,” Frisvold paints a vivid picture of the Milky Way as a celestial river of liquid silver flowing through the heavens. This astral stream of immortalizing milk is the Pleroma, a transcendent realm beyond the traditional seven planets, ruled by Seth. This evocative imagery reminded me of an enigmatic message on one of the Orphic gold tablets: “A god you have become from a man. A kid you fell into milk.”17 Perhaps the Milky Way represented the transformative journey from human to divine for Orphic mystics as well.

As a Gemini, I was especially intrigued by Frisvold’s association of the Milky Way with my zodiac sign. He explains that the celestial river leads to Gemini, the sign of duality, which nourishes the twins Castor and Pollux, and “challenges our choices by strength and mercy.”18 This house of Mercury holds the caduceus, the symbol of balance and healing, where the snakes of Mercury and Sulphur coexist in perfect harmony, supporting the sacred path. 

One of my favorite essays is titled “Raziel’s Secret.” In this magical work, the Tzohar is described as a literal jewel, a sapphire forged in primordial light. Revealed by the angel Raziel, this sapphire enabled Adam to read the Book of Raziel by holding it to his eye. I was delighted by this enchanting touch of Jewish fairy tale mysticism. 

Raziel, a being of extraordinary power, is both a Seraphim and an Ophanim, and as such, “belongs to the potencies of divine fire guarding and watching the divine throne itself.”19 Frisvold explains that Seraphim are the guardians of “the primordial fire of transcendence, the glowing coals of perfect fire flowing forth in the rivers of wisdom from the divine throne.”20 Being a Seraphim “means that Raziel is not only an angel formed in the likeness of the mystery itself; Raziel is the voice of the Tzohar.”21

The Praxis section of Invisible Fire includes several rituals that utilize the power of the fixed stars, and have that old school feel of the Greek Magical Papyri. One such ritual involves creating a protective talisman using a scorpion. The practitioner is instructed to feed the scorpion wine and herbs while reciting a hymn to Antares, the Royal Star and heart of the Scorpio constellation. While acquiring a scorpion, dead or alive (the ritual doesn’t specify which), might be challenging, I personally own a taxidermy scorpion necklace that I wear to honor my natal Mars and Saturn in Scorpio, which I’m considering incorporating into a modified version of this ritual to imbue it with protective energy.

While the grand scope of this luminous work may be a bit overwhelming for the casual reader, Invisible Fire will serve as a valuable resource for those seeking a deeper understanding of the mysteries of the universe and the human soul. Its esoteric insights, like the stars themselves, illuminate the ancient traceless paths of Gnosis, awakening the divine spark, the invisible fire that flickers within us all.

High Magic in the Age of Steam, by Jeffrey S. Kupperman

High Magic in the Age of Steam: A Steampunk’s Introduction to Victorian Esotericism, by  Jeffrey S. Kupperman
Crossed Crow Books, 1959883623, 200 pages, August 2024

High Magic in the Age of Steam: A Steampunk’s Introduction to Victorian Esotericism by Jeffrey S. Kupperman is a fascinating exploration of the intersection between the steampunk aesthetic and the rich tapestry of Victorian esoteric practices. Filled with interesting historical overviews of the occult movements emerging during the Victorian era, along with character sketches one might use to model their steampunk persona, this book links the past, present, and future (or in regard to steampunk, retrofurturism). In a time when technological advancements were rapidly reshaping the world, High Magic in the Age of Steam delves into the intersection of the occult movements flourishing alongside, offering a wider-range of technofantasy elements one can draw upon for steampunk inspiration.

“The occult has always been part of steampunk, either artificially partitioned as Gaslamp, or just generally ignored by steampunks outside the various occult communities. The point of this book is not to redefine steampunk but to expand it to be more inclusive.”13

Kupperman begins High Magic in the Age of Steam by sharing the history of steampunk, from its origins to the nuance about the definition of the genre. There’s many dimensions to steampunk, and for those on the outside looking in, it can feel like a whole new world to understand. It’s clear Kupperman has done a lot of reflection on steampunk and come to see areas where it can expand to be more accessible to a wider audience. This book aims to integrate occultism with the science of the time with Kupperman noting: 

“Victorians also had a deep interest in the occult and occultist—any number of whom were also scientists—and often considered various occult practices as kinds of science.”20

Following the foundation he’s laid about steampunk and magic, Kupperman moves into detailed examination of the various forms of occultism that flourished during the Victorian era, including Theosophy, Masonry, Druidry, Spiritualism, and more. For each one, he provides thorough explorations of traditions and stories of the prominent individuals within the movement. He really delves into the belief systems of the movements, how they impacted and were impacted by zeitgeist of the era, and the characteristics one might draw upon to distinguish their steampunk persona. At the end of most sections, there’s a full character sketch, which highlights their occult background and describes the attire one can use to convey this persona.

While reading this book, I was continually impressed at the way Kupperman teaches and explains each esoteric practice, providing enough information to get a full overview with an intuitive knack of capturing the essence of each. His style of writing is straight-forward and engaging, ensuring that complex concepts are broken down into digestible parts while also honoring the nuances of the topic being explained. Through his story-telling, these movements come to life, and the reader feels themselves placed within the period Kupperman is writing about. This transportive aspect makes this book a real journey through time, which I feel is immeasurably helpful for getting in character.

Kupperman does a great job of skillfully situating occultism within the broader context of Victorian society, exploring how technological advancements and societal changes influenced the spiritual landscape and vice versa. One instant of this is how he presents the impact Spiritualism had on the social movements of abolition and women’s rights. This historical grounding adds depth to the book, allowing readers to appreciate the unique blend of science and mysticism that characterized the era in order to connect with their steampunk persona in a deeper way.

Another aspect of the book I enjoyed is Kupperman’s insightful commentary on the cultural and social implications of occult practices during the Victorian era. In the beginning of the book, he delves into the sticky subject of cultural appropriation vs. appreciation, which was rampant during the imperialism of this age. He never shies away from acknowledging the social inequalities of the time nor the racism that cropped up in certain occult communities, such as Theosophy’s idea of “root races”21. There are even times Kupperman refrains from presenting a character sketch, such as for Vodou, which I really respect.

The Appendices and additional chapters at the end of the book also contain a wealth of information too. “Appendix A: Persona Building” and “Appendix B: Expanded Steampunk Personae” assists readers with getting started in steampunk. Whether one wants a more DIY approach or prefers to use prefabricated character sketches, Kupperman provides useful guidance about how to create one’s own steamsona. I particularly like how he encourages readers to create their own history in “Appendix C: Building a Better Order” that moves away from the racism or infamy some of the real esoteric organizations come along with. In regard to creating one’s own order, he writes:

“You can do whatever you’d like it with and there really is no one to challenge you on its historical accuracy outside of blatant anachronism. Even that can be easily written off as something that exists at that time in the steampunk world you inhabit, even If it didn’t exist in ours.22

I was drawn to High Magic in the Age of Steam for two reasons. The first is that I love reading occult history and the Victorian era is one of my favorite periods. The second is that I was going through a bit of a professional identity breakdown; it felt like how I was presenting myself was no longer resonating with recent change and growth I’ve experienced. I’d never thought about crafting a “persona” before, whether for roleplaying or in my professional offerings (I guess in this regard it’s considered “branding”), so I was looking for insight into how one goes about doing so.

In both regards, all my expectations were exceeded by Kupperman. The historical writing was fascinating, containing a lot of details that often are overlooked in a quick summary of the occult movement. It’s extremely evident he took so much care in portraying the Victorian occult as accurately as possible. Then Kupperman’s descriptions about incorporating each occult practice into a steampunk persona gave me so much insight into how I could play with my own professional identity, highlighting certain aspects of myself and what I offer to others, to feel more aligned with how I present myself. I feel a lot more free to play around with how I show up to others now.

Overall, High Magic in the Age of Steam is a well-researched work that successfully bridges the gap between historical study and creative exploration. Kupperman has crafted a compelling guide that will delight both steampunk aficionados and those curious about the mystical side of Victorian history. This book is a must-read for those interested in Victorian or modern occultism (so much of today’s occultism is influenced by this time period!). It’s honestly been my favorite occult book that I’ve read in a while.

For fans of steampunk, especially those looking to incorporate an esoteric element to their persona, Kupperman offers a treasure trove of inspiration. He draws connections between the aesthetics of steampunk and the symbols and rituals of Victorian occultism, providing a rich source of material for writers, artists, and enthusiasts looking to deepen their understanding of the genre. The book’s imaginative approach encourages readers to see the Victorian era not just as a backdrop for steampunk adventures, but as a vibrant, mystical world in its own right that saw the creation of esoteric movements that continue to be practiced today.

The Eye of Odin, by Per Henrik Gullfoss

The Eye of Odin: Nordic Mythology and the Wisdom of the Vikings, by Per Henrik Gullfoss
Crossed Crow Books, 1959883259, 140 pages, May 2024

Mythology is often viewed as whimsical in the way the stories that are told reduce deities’ power to superstition. This book pulls back the veil of that notion of superstition to disclose ideas that mythology is directly related to many other facets of magic and not all amusing stories and fairy tales. In fact, if you are a practitioner of any kind there is a good chance that most of the ideas presented here will resonate deeply. 

Per Henrik Gullfoss’ book, The Eye of Odin: Nordic Mythology and the Wisdom of the Vikings, takes the reader on a journey and sets up the idea that Norse mythology is not as primitive as Christianity has portrayed. Christianity is a much younger religion by comparison, and delving into the root of the Norse beliefs reveals a startling amount of thought and competency that many cultures have been told didn’t exist within the barbarian tribes of old. By combining classic astrology with Norse mythology to get a deeper understanding of human consciousness itself, Gullfoss has crafted a remarkable book that appeals to a wide range of practitioners.

As one of the leading experts in the field of Norse myth and astrology in Norway, Gullfoss brings together both of these topics to show how these old stories led to the development of human consciousness and mystical thought. It’s a fascinating look at how the two are connected, and Gullfoss’ writing certainly illustrates in detail how similar the two concepts actually are.

Gullfoss writes, “… I have used astrology as a map that one can utilize to learn about and understand Norse myths.”1 He continues, “In the following chapters, I will show how Norse mythology can give a coherent and logical view of the world, which is just as marked by common sense and insight about cosmic laws as other belief systems.”2

This book is glorious and marvelous in the way that it seamlessly moves through what appears to be difficult concepts of creation, consciousness, awareness and ties these concepts together using Norse mythology. His language is that of a practiced storyteller, weaving together the stories of the old gods and marrying them with modern astrology. One of my favorite parts of this book, and examples of this are peppered throughout which is joyous for me, is the direct way he connects specific planets and other deities with Norse gods.  He says:

“Odin is the highest god of the heavens in Norse mythology, filling the same space as Uranus in Greek mythology. Consciousness and the element of Air are both the hallmarks of Uranus and Odin… Odin (Uranus) thus becomes the one who mediates the cosmic laws of creation and the universe to humans.”23

There is no question that Norse mythology is dominated by the values of men and relates to a warrior set that is almost exclusively male. Gullfoss deftly inserts the feminine aspect, stating that the power of femininity consists of an enormous force that is equal to the male counterpart. His writing is not dismissive of female power; rather, he uses feminine examples to show balance. One part focuses on the Norns, three mighty maidens not unlike the three sisters of fate in other stories, with this archetype continually referenced, along with others, throughout the book. It’s moments like these where the reader begins to realize just how interconnected these stories really are. It matters not what time period or culture, there is a resonance of similarity between them that can’t be dismissed.

There is so much in this book, it’s difficult to pull out specific parts to showcase. The mention of Tyr, a mighty warrior god representing a pure form of Mars, is a god that is barely talked about. I personally didn’t know he was a god, I thought Tyr was a rune and didn’t realize there was a whole backstory. Such realizations like this happened quite frequently as I read through this book, and I am so glad I took the time to digest the work. 

The Eye of Odin is a great book for anyone who loves astrology and Norse mythology and is interested in seeing how deep the connection is between the two. It presents some concepts that might feel a bit radical or out of place in today’s society; understand that this is not a rewrite of history but a comparison. While I personally did not find anything that particularly caused my hackles to rise, I can see how the overlay of masculinity could be seen as disregarding the feminine. My hope is that as the reader delves more deeply into the book and the subject as a whole, they come to the same realization as I did: no matter what, there is no male without female, especially in the world of mythology.

Witchcraft, by Raven Grimassi

Witchcraft: A Mystery Tradition, by Raven Grimassi
Crossed Crow Books, 978-1-959883-59-3, 270 pages, July 2024

Neo-Pagan scholar and witch Raven Grimassi (1951-2019) was the prolific author of several books on the Old Religion. Initiated into Wicca in 1970, he founded the Aridian tradition a decade later, which blended Wicca and Italian witchcraft. In 2006, he established the Ash, Birch and Willow tradition with his wife Stephanie, which emphasizes the primal roots of European witchcraft. 

Crossed Crow Books, dedicated to preserving Grimassi’s legacy by republishing his out-of-print works, has rereleased Witchcraft: A Mystery Tradition. In this comprehensive work, Grimassi explores the myths and universal deity archetypes at the core of the Mysteries, which he says are “applicable to any system or tradition of Witchcraft.”24. This book was inspired by the Goddess of the Mysteries, Ceres, who Grimassi honored as his patroness because he was born on her festival day, April 12th. Before writing each chapter, Grimassi asked Ceres for her guidance.

For me, witchcraft is an ecstatic religious experience rooted in ancient practices, and Grimassi’s writings support that school of thought with meticulous research.

“It is my personal belief and experience that Witchcraft is a religion that has evolved over countless centuries (as opposed to a modern construction),”25 Grimassi says. “Historians and archaeologists spend a great deal of time and energy trying to separate magick and sorcery from Witchcraft as well as other things that the Witch as a practitioner knows to be inseparable.”26

Grimassi’s traditional perspective is so validating and refreshing to read, and I wholeheartedly agree with him. It’s become trendy for witches on social media to deny that witchcraft is a religion, and I can’t help but feel that they are serving their egos instead of the Goddess and the God.

Grimassi provides supporting historical evidence of Wiccan concepts and practices that have supposedly been debunked by historians like Ronald Hutton as modern inventions. He traces the ancient origins of ritual nudity, also known as being “skyclad,”27 citing seventeenth-century woodcuts and classical works, such as Ovid’s Fasti, as proof. He also validates the threefold nature of the goddess of witches, who is mentioned in classical sources like Lucan’s Pharsalia and Ovid’s Metamorphoses, as well as in “the ancient concept of the Three Fates,” in which “we see the classic Maiden, Mother, and Crone vision.”28 

One of the greatest strengths of this book is that Grimassi helps readers see the Mystery Tradition from the perspective of our prehistoric ancestors. For example, he suggests that the ancient belief in an afterlife may have stemmed from the observation that sleeping people resemble the dead and visit the spirit realm in dreams. He also notes that “the Sun and Moon appeared to arise from beneath the ground and return each day or night,”29 suggesting the presence of an Underworld beneath the earth.

“It is the work of a Witch, as a practitioner of Earth Religion, to be a steward of nature,”30 Grimassi says.

Witches align with nature through the seasonal rites of the Sabbats, which Grimassi explores in detail. He explains how the waxing and waning halves of the years are personified by the Holly King and Oak King, whose animal forms are the stag and the wolf, and he analyzes the symbolism associated with the myths and legends of each Sabbat. 

“The Mystery Teachings are designed to bring humankind back to its original relationship with nature,”31 Grimassi says. By studying these teachings, he believes we can reactivate dormant ancestral knowledge, which he refers to as “memory-chain associations.”32 Memory-chain associations are energetic currents that Grimassi likens to quantum threads in a spider’s web of non-linear time, weaving together the simultaneously existing past, present, and future.

By aligning with a “core concept” that is received upon initiation into the Mysteries, “one can interface with the memory-chain associations.”33 Once the memory-chain has been activated, the initiate can draw from the Underworld cauldron of ancestral memory hidden within the labyrinthine tangle of roots beneath the Tree of Knowledge. The wisdom that lies therein is meant to be shared, for the enlightenment of humanity, and “the cauldron will not offer its essence to those who serve only themselves.”34

I believe Grimassi wrote this book in such a way that it activates those memory chains in the reader, stimulating initiatory insights, and this book is such a wellspring of information that it would take multiple readings to fully integrate what it has to offer. By shifting my mindset to the primal perspective of this work, I had a profound epiphany that deepened my understanding of the Horned God and my personal relationship with him. 

I took the holy sacrament of psilocybin cubensis for the first time while reading Chapter Three, “The God of the Witches,” and it was a truly initiatory experience. Although Grimassi does not mention the use of psychedelic sacraments in this book, I felt guided to do so by my guardian spirits because the mushroom, with its phallic shape and ecstatic properties, is a sacred plant medicine of the Horned God. It was a fortuitous synchronicity that I received the sacrament from a church the day after I started reading this book. I was also given signs to take it by the presence of two large mushroom fairy rings at the local park.

After waiting several hours for something to happen, I was disappointed because I thought the sacrament wasn’t working. I gave up and watched an episode of the X-Files, in which Agent Scully was kidnapped and almost lobotomized by a serial killer who wanted to trepan out her demons. Before Mulder rescued her, I had an intense craving for Doritos. That’s when the magic mushrooms finally started to kick in.

I heard a spirit voice tell me that I was protected and it was safe for me to let my guard down and surrender to the experience. She told me I have a very strong mind, like barbed wire, and it took a long time for me to feel the effects of the sacrament because of my psychic barriers. I realized she was right. I was curious to see what would happen, but I was also afraid of being mind-raped by the mushroom, so I had a lot of subconscious resistance. Up until that point, I had been worried that I wasn’t feeling anything because I didn’t take enough, but she told me that the Universe had provided me with the exact dosage that was right for me to consume at that time. Left to my own devices, I could easily have overdosed and become Madame Psychosis. My guardian spirits know me all too well.

At the peak of my trip, Dionysos appeared to me in the form of a serpent crawling along the tiles of my floor. The serpent told me he knows me better than I know myself, and gave me a lot of insight into my own behavior. He revealed to me that he is like a chameleon, and if I try too hard to see him, I won’t find him at all. “Surprise!” he said. I am the Mushroom King. He was very playful and teased me for overlooking him when he’s all around me, giving me obvious signs of his presence.

On the eve of Lughnassadh, a few days prior to me consuming the sacrament, a catalpa tree fell in the backyard during a thunderstorm. Thankfully, no one was injured and there was minimal damage, but it was a really startling encroachment of nature. A forked stang was gifted to me from that fallen tree, and I learned from an internet search that catalpa wood encourages creative self-expression, embracing one’s uniqueness, and facilitates communication with spirits, including angels, fairies, and ancestors.

The garden has also been strangely wild and overgrown with monstrous weeds this summer, despite all my diligent efforts to tame them. The corn was mysteriously knocked over by some unseen force, which was a frustrating disappointment, but the berry bushes have been thriving. All of this excessive weedy vegetation has been the Horned God’s way of trying to get my attention. He confirmed that I am a maenad by giving me a vision of myself with green skin and wearing a flower crown, which aligned with me being born in May and the emerald being my birthstone. I reveled in this Dionysian ecstasy without worrying about whether or not these insights were real or a form of spiritual psychosis, and once it was over, I felt heightened creativity and wrote down everything I could remember and transformed my experience into a poem.

Dionysos taking the form of a serpent in my vision was significant because Grimassi writes that, according to Plutarch, during the waning half of the year, “Dionysos is lord of Delphi,”35 while Apollo reigns during the waxing year. He likens Apollo and Dionysos to the Oak and Holly Kings of the waxing and waning and waning year who annually battle for regency. After re-reading this passage, I realized I had seen Dionysos in the form of the sacred python of the Delphic Oracle. This information was important for me to integrate because I’ve been wanting to incorporate Apollo into my practice as a complement to Dionysos, and seeing him as the king of the waxing year adds more depth to how I perceive his relationship with the Dionysian shadow.

I now see Apollo as the rational conscious mind, the Luciferian prince of dawn who wakes us in the morning and helps us remember and interpret the dreams and visions gifted to us in the Dionysian underworld of the subconscious mind. Light-bringing Apollo helps us make sense of it all and gives our visions deeper meaning by translating them into poetry, music, and other art forms. Apollo, the embodiment of reason, bestows the gift of discernment, enabling the mind to parse out delusions and fantasies from genuine prophecies and mystical experiences.

According to Grimassi, when the conscious mind attempts to digest illogical dream symbolism, “it discards what cannot be understood and retains what can be deciphered through logic and rational reasoning.”36 “The discarded information falls back into the subconscious mind where it later reappears in another dream state,”37 Grimassi says. This subconscious stew of dreams is symbolized in mythology as a magical cauldron, and as I read Grimassi’s words, I had a sudden epiphany that these dream fragments are reflected in the myth of the dismemberment of Dionysos, who was cooked in a cauldron and eaten by the Titans.

“The mystical theme of consuming is at the core of the Mystery Teaching associated with the Sacred King or Slain God,” Grimassi says. “The seed must go into the earth and the God must go into the soul. In essence, burial takes place in the soil and the stomach.”38 Grimassi also points out that the hearth was seen “as an entrance to the Underworld.”39 “The cauldron,” he says, “is not only a cooking pot but also a womb symbol from which metaphorical children are born.”40 

Taking the sacrament while reading this chapter gave me a whole new perspective of the Horned God’s manifestation as the sacred serpent. The correlation between the Horned God and digestion got me thinking about how the human digestive tract is just one long snake.

“The serpent is a very old symbol of the forces of the Underworld and of transformation itself,”41 Grimassi says.

Part of the Biblical serpent’s wisdom must have been instinctual discernment of what is safe and not safe to eat. Practicing Grimassi’s prehistoric way of thinking, I imagined the process of trial and error for hunters and gatherers learning which plants were safe for consumption and which ones were poisonous. To consume the sacrament is to metabolize plant wisdom. Perhaps being cursed to crawl on one’s belly metaphorically means that the will to survive is driven by the pangs of hunger. In order to stay alive, we are slaves to the dietary needs of our bodies.

Perhaps this is why so many Christian ascetics used fasting as a method of resisting the Devil. I have come to the conclusion that the Tree of Knowledge is the human body, and the serpent is the digestive system. The serpent rules the literal bowels of the Underworld, the digestive system that alchemizes food into energy. By honoring the wisdom of the serpent, we treat all food as sacred and become more mindful of what we consume.

Witchcraft: A Mystery Tradition has blessed me with initiatory revelations and I can’t praise this book enough. I came to this work seeking to know the God of Witches better, but of course, Grimassi devotes the same amount of attention to the Triple Goddess. In the past, my practice has been primarily goddess-centric, so this book initiated me into an aspect of the Horned God’s mysteries because that’s what I needed most for my personal spiritual journey. I have no doubt that multiple readings will take me in new directions, and every reader’s initiatory experience will be different, depending on where they are on their spiritual path.

Mastering Candle Magic, by Patricia Telesco

Mastering Candle Magic: Advanced Spells and Charms for Every Rite, by Patricia Telesco
Crossed Crow Books, 1959883518, 220 pages, August 2024

One of the most appealing aspects of candle magic is its simplicity and accessibility. You don’t need elaborate tools or extensive training to begin practicing; a single candle and a clear intention are often enough. Yet for those who are seeking to learn more about candle magic, leaping from beginner to expert, Patricia Telesco provides wonderful guidance in Mastering Candle Magic: Advanced Spells and Charms for Every Rite.

Patricia Telesco is a prolific American author, herbalist, poet, lecturer, priestess, and folk magician. She has penned over 60 books covering topics such as self-help, cookery, magic, folklore. She is deeply involved in the metaphysical community, serving as a trustee for the Universal Federation of Pagans. You can see all her experience shine through in the pages of this book, which is filled with creative ideas and unique practical magical advice.

“The whole purpose behind Mastering Candle Magic is one of exploring ways to add in, personalize, or enhance your candle-lighting efforts for any ritual, spell, charm, meditation, or other metaphysical process.”32

Divided into two parts, this book begins with “Part 1: The Next Step”, which as the title confers is filled with the wisdom needed to advance one’s candle magic practice. In this section, Telesco encourages readers to begin to create, test, and refine their own candle magic spells, noting this is a step of spiritual growth in one’s practice. This might look like modifying prefabricated spells in a way that feels intuitive right or simply based on the items one has available to utilize in that moment to fully crafting a spell from scratch based on an understanding of correspondences.

Telesco offers ideas for both modifying and personalizing prefabricated spells as well as sharing a step-by-step process for creating one’s own candle magic spells. While the process might seem a bit like an introduction to candle magic for those who have practiced for some time, the foundation of it serves to reconnect readers with the basics that make a spell flourish. Telesco writes: “How much focus you give the spell, how much support you provide afterward, how much you trust in your magic–all of these things influence the results.”36

Ironically, even though the first part focuses on developing one’s own practice, “Part Two: Putting Match to Wick” is filled with tons of candle magic ideas for a wide variety of topics. For me, the greatest challenge is not simply using the prefabricated spells Telesco has provided and continuing to try to craft my own because all the ones in the book are so interesting and unique. But in an effort to focus on personalizing my spells, the ideas Telesco provides are fantastic starting points that have truly become a creative guide for me.

One thing that inspired me is the range of things candle magic can be used for. Prior to reading Mastering Candle Magic, I never thought to do spellwork to find lost objects, support my conscious mind, handle a haunting, or for organization. Yet these are just some of the types of candle magic Telesco offers spells for in addition to the most common ones like relationship needs, abundance, healing, divination, fertility, justice, power, opportunity, and more.

For each topic, Telesco describes why one might want to use that type of magic. She then shares a list that includes the best timing for the spell (moon phase, day of the week, type of weather, etc.), aromas, candle color, and other symbolic components (tarot card, crystal, household item, etc.). And following this, she offers two prefabricated spells that have plenty of room for personalizing but can also be used without modification.

In some cases, as with entries for Relationships and Hauntings, there’s more information that can be discerned from the way in which the flame burns or candle melts. For these, Telesco provides additional information about the meaning for readers to yield more insight from their process. For instance, a flame that quickly smolders means the relationship might be soon fading away if significant enough is not put in. This information helps the reader to better understand the subtleties of candle magic.

Finally, a real bonus of this book is the appendices at the end. “Appendix A: Historical Tidbits, Folk Beliefs, and Helpful Hints” further expand one’s knowledge of candles through time, from what they’ve been made of to how to best care for them. “Appendix B: Useful Correspondences” is very helpful for those ready to craft their own spells or modify an existing one by making a substitution. The content includes color associations (zodiac sign, general energy), numerology, energetic properties of stones, symbolism of shapes and images that can be carved into candles, aromatics and herbs, and significance of timing (weekdays, moon phases, seasons).

I have really enjoyed every spell, in particular how Telesco shares the words to recite for them amid detailed directions. While I do like the practice of creating my own, sometimes it’s just easier to apply what’s already ready to go! So far, I’ve noticed a big shift in my energy after doing the spell for Focus (I declined invitations that would have distracted me from getting what needed to be done, and then I relished my time, proud of how I honored my commitment to myself to focus on work.) and Organization (My thoughts are so much more clear and aligned – as is my wardrobe!) I plan on doing two more of Telesco’s spells for the full moon in Aquarius coming up: Freedom and Inspiration.

Overall, Mastering Candle Magic is suitable for any level of candle magic experience. It’s by far one of the most customizable candle magic books that beginners will have a lot of fun experimenting with as they gain the confidence to craft their own spells, while those looking to advance their practice will gain a lot of wisdom and creative initiative. Telesco’s originality is sure to open new pathways for readers’ to advance their own candle magic practice.

Spinning Spells, Weaving Wonders, by Patricia Telesco

Spinning Spells, Weaving Wonders: Modern Magick for Everyday Life, by Patricia Telesco
Crossed Crow Books, 1959883526, 220 pages, August 2024

Ever feel like you need a boost to get your magic moving? I certainly do! In the hustle of the day, roadblocks like limited time and lack of inspiration leave me feeling disconnected, especially from the magic and wonder in the world. Reading Spinning Spells, Weaving Wonders: Modern Magick for Everyday Life by Patricia Telesco has been the boost I needed to spur on my creativity and reconnect with my magic practice. This book is a one-stop shop for all the spell inspiration one might need!

“Keeping magic uncomplicated provides more time to focus on our goals instead of on the procedures used. By so doing, we reclaim the freedom to get inspired and empowered by the simplest things. Our hearts become the helms for our lives and our paths, and our environments become the stimuli for originality.”37

“Part 1: A Spellcraft Primer” provides a historical foundation of spellwork, covering what magic is and is not and offering general guidelines for using magic responsibility. Telesco describes for readers various common components of spells–music, aromas, herbs, repetition, timing, and more–to prepare them for what lies ahead in the book. She then goes on to give a ten-step method for creating personalized spells from start to finish. This section does a great job of teaching the basics for those new to magic while providing a refresher for advanced practitioners.

“Part 2: Spells by Topic” is where this book gets very fun! For over 100 magical intentions, ranging alphabetically from Abundance to Zeal, Telesco shares information for readers to draw upon so that their “vision of magic can be shaped, assembled, and woven together.”38 This information includes general uses for the spell type, optimal timing, props or focal points to work with, secondary listing (related types of spell work shared in the book one can look up), and sample spells.

What I love about each entry is how there’s so much room for improvisation yet also straight-forward spells you can use directly from the book too. So far I’ve tried both ways, creating my own spell from the information Telesco provides as well as utilizing the spell she shares without modification, and both methods have been successful. I also really enjoy the variety of spell intentions she covers and how the sample spells are always unique.

Here are some examples that highlight the variety of the content:

• For Goals spellwork, she explains how to do a magical form of Pin the Tail on the Donkey by writing your goals on strips of paper, coating them with ginger, repeating a mantra, blindfolding yourself, focusing on visualizing your goals, and then trying to get them on a piece of construction paper representing the sacred space for them to grow and manifest. If you’re missing the paper, she recommends trying again every day until you’re hitting the work.

• For Joy spellwork, she suggests preparing a box of gelatin dessert and adding berries or peaches then imbuing the positive emotions in each bite to take them in.

• For Passion spellwork, she offers a candle magic ritual where two candles are lit to represent each person in the union and then a third candle remains unlit until the mood is just right. At this point, both people take their candle to light the third one and whisper the magical words to unite them.

• For Jobs, she writes you can find job advertisements of interest that you’re qualified for, anoint it with patchouli oil, and then ignite it while speaking out loud your intention. From there, you can keep the ashes as a charm or bury them with a plant to grow.

• For Zeal, she describes creating confetti and then throwing it in the air over oneself while doing visualizations of colors and sensations rising within, reaching a pinnacle, then vigorously pouring down on you.

And this is just a small sampling of all of Telesco’s ideas, as each spell intention usually has two or three spell samples to choose from.

“Appendix A: Components, Symbols, and Common Magical Associations” is an alphabetized list of item associations usually used in folk magic. Once again, readers are given tons of guidance useful in crafting their own spells. Within the list, Telesco goes through the meaning of numbers, runes, flowers, and hundreds of household items. The association for a food processor? “Diverse energy blending, transformations.”42 Doorbells? “Guests, messages, news, welcome[/efn_note]page 206[/efn_note] Baking Soda/Power? “Increasing energy or hopeful expectations.”43 I learned so much going through the list and will absolutely be referencing it often!

“Appendix B: Gods, Goddesses, Spirits, and Heroes for Spellcraft” offers lists of deities or spirits that can assist with specific spell intentions. Telesco’s suggestions span a range of pantheons and cultures–Polynesian, Chaldaen, Slavic, Hindu, Mayan, and Teutonic–and for each one, their gender and cultural origin is listed. I love the diversity! I’m sure this list will come in handy not just for spellwork but also for personal research.

Then “Appendix C: Handcrafting Magical Compounds” is a real bonus for those who like to get crafty. In this section, Telesco shares the how-to for many magical items that can be handmade: candles, herb bundles, masks, incense, poppets, wreaths, and more. While there’s only a few paragraphs for each one, there’s enough information to once again get the creative wheels spinning and prompt ideas for what one might want to make for their magical practice.

All in all, Spinning Spells, Weaving Wonders is the perfect book for those looking for versatility, creativity, and flexibility in their spellwork. Telesco is an absolutely wonderful teacher, drawing upon her thirty plus years of experience to make the readers feel confident in their spellwork. There’s so many directions one can go with this book and the possibilities are truly endless. I highly recommend it to magical practitioners of all levels as it’s bound to get the magic inspiration flowing and point you in the right direction when you need a creative boost.

Dance of the Sun Goddess, by Kenneth Johnson

Dance of the Sun Goddess: Pagan Folkways of the Baltic Coast, by Kenneth Johnson
Crossed Crow Books, 1959883240, 220 pages, March 2024

The eastern shores of the Baltic Sea glitter with amber, the golden tears of petrified resin shed by prehistoric pines. Nicknamed the Amber Coast, this magical region was the last part of Europe to be converted to Christianity, and forgotten pagan traditions, preserved in the lullabies of folk songs, rock its gilded cradle.

In Dance of the Sun Goddess: Pagan Folkways of the Baltic Coast, author Kenneth Johnson introduces readers to a vivacious pantheon of Baltic deities whose powers can be invoked with sacred trees and beautiful sigils that may be painted or carved on wood. Johnson draws pagan lore from Baltic folk songs to reconstruct the pre-Christian beliefs of the Latvians and Lithuanians. 

Johnson is a professional astrologer who has a B.A. in Comparative Religions and an M.A. in Eastern Studies, and he has written several books paganism, astrology, and magic, including Jaguar Wisdom: An Introduction to the Mayan Calendar, Witchcraft and the Shamanic Journey, and Flight of the Firebird: Slavic Magical Wisdom and Lore.

While Johnson is not of Baltic descent, he is passionate about sharing the mythology and folk practices of the Amber Coast with the world because of what they reveal to us about authentic European paganism. In the “Author’s Note” at the beginning of the book, he explains that the Lithuanian language is the closest living relative to the ancient Proto-Indo-European language. 

“This original language had its own religion, and this vanished faith has been the origin of all our Pagan mythologies—Greek, Latin, Norse, Celtic, Slavic, and Baltic,”44 Johnson says. Like a prehistoric insect fossilized in an amber coffin, these root pagan beliefs have been preserved in the living language and active folk practices of the Baltic lands, giving us a rare glimpse into the past. 

In “Part I: The World Tree,” Johnson introduces readers to the Baltic vision of the cosmos. Heathen readers will be delighted to learn that Baltic paganism bears many striking similarities to Norse mythology, beginning with the Latvian World Tree, called the “Tree of Dawn,” which resembles the Nordic Yggdrasil.45 The Tree of Dawn is invisible to mortal eyes. It is a bridge between heaven and earth, and only the gods and Baltic shamans can see it. In a Latvian folk song Johnson shares, the Tree of Dawn is poetically described as an iridescent rose that lifts one to heaven upon its ascending petals. This multi-colored rose may remind readers of Bifröst, the shimmering Rainbow Bridge that leads to Asgard, the realm of the gods, in Norse mythology.

Parts II and III introduce readers to the Baltic pantheon of deities, nature spirits, and folk heroes. As indicated by the book’s title, Dance of the Sun Goddess, the Baltic deity of the sun is the life-giving goddess named Saulė, while Mėnuo is the god of the moon. Saulė is one of the most important deities in the Baltic pantheon, since she sustains all life on this planet. The magical amber that sparkles on the Baltic shores is a gift of the sun goddess, and in the Bronze Age, it was the Baltic equivalent of gold, bringing prosperity through trade. Other prominent deities include Dievas, the Sky Father; Perkūnas, the god of thunder, who resembles the Norse god Thor; Velnias, the Lord of the Underworld; Žemyna, the earth goddess; and Laima, the goddess of Fate. 

In the Baltic worldview, the gods are intimately associated with trees.

“Too often, we walk past a magnificent tree without even looking up from our cell phones, unaware that we are in the presence of Laima, whose sacred tree is a linden, or Perkūnas, whose tree is the stately oak,” says Johnson.46

Throughout the book, Johnson includes several magical workings that help keep readers mindful of the divinity in nature. For example, as a magical working for honoring Milda, the goddess of love and indolence, in the month of May, Johnson suggests readers “take a vacation from work and relax among the flowers and the trees as her contemporary devotees do.”47

An appendix at the end of the book provides nineteen Baltic sigils and guidance on how to use them to invoke the blessings of the gods. One of these beautiful sigils is Perkūnas’s “Cross of Thunder,”48 which protects one’s home and family, and may be carved or painted on the door of a house or barn.

Most of these deities were unfamiliar to me, so it was a real treat to learn a new pantheon. One of my favorite Baltic goddesses is now Medeina, a beautiful forest maiden with green hair who is the Lithuanian version of Artemis/Diana. Like her Greco-Roman counterpart, she is a chaste huntress who haunts the wilderness, accompanied by an entourage of hares and wolves, her most sacred animals. Even though she is a huntress, it is the animals she protects, not human hunters, and sometimes she shapeshifts into a wolf to defend her pack. Her Latvian name is Meža Māte,”the Mother of the Forest.”49

I have a preference for chthonic deities, so I found the Baltic Underworld to be particularly fascinating. It is ruled by the Lithuanian deity Velnias, whose name is etymologically derived from the word vele, meaning “the dead,”50 and “his world is the world which lies in the tangled roots of the great tree, the world of darkness and the dead.”51 According to Johnson, the Underworld mirrors our realm. “It even has its own World Mountain, Mt. Anapils, and this is where Velnias dwells, just as Dievas dwells upon Sky Mountain in the world above the great tree,”52 Johnson says.

Although the Christians associated Velnias with the Devil, his role in Baltic mythology was far more complex. “Velnias is a world maker,”53 Johnson says. The creation of the world was a joint effort by the Sky Father Dievas and the Underworld Lord Velnias, “the two opposite polarities of life and death working together.”54 However, Dievas plays a passive role, and his will is carried out by his son Perkūnas, the temperamental Thunder God, who sometimes lashes out at Velnias when they don’t see eye to eye. Velnias escapes the wrath of Perkūnas by slinking in the shadows and hiding beneath stones or in the hollows of trees.

Being a shapeshifter, Velnias is a master of beasts, and since humans may reincarnate as animals, he is also lord of the dead who have been reborn in bestial form. I was particularly fascinated by this aspect of his character because it reminds me of the Devil card in tarot, and the bestial nature of both the Devil and Adam and Eve, who are depicted with tails. I was aware that shapeshifting can be a metaphor for dying in fairy tales, but it didn’t occur to me to link the Devil with humans reincarnating as beasts until I read about Velnias.

Ragana, the goddess of witches, is the Baltic Baba Yaga. Just as Velnias diametrically opposes the Sky Father, the winter goddess Ragana is the counterbalance to the celestial fire of Saulė, who must be banished on the summer solstice so that her life-giving powers do not overwhelm the earth with greenery and sweltering heat. Likewise, Saulė must regain her strength to break the dark spell of winter that binds the earth in chains of ice. At the winter solstice, Velnias leads an army of the dead and conquers the forces of darkness so that Saulė can return to thaw the frozen land. This divine tug of war between the forces of light and darkness spins the wheel of the year.

In the chapter on “Nature Spirits,” one of the most intriguing Lithuanian fairies is the aitvaras, a house spirit that looks like a rooster with a fiery tail when it is inside the house, and takes the form of a dragon or a meteorite when it streaks the countryside, stealing grain and gold for its master.55 While the aitvaras is a source of prosperity for the household, it can also bring misfortune if the theft is exposed. 

In “Part IV: The Wheel of Life,” Johnson guides readers through the Baltic wheel of the year, the seasonal festivals, and the Old Prussian zodiac. I was fascinated to learn that Cancer, the sign of the Crab in Western astrology, is called Azē, meaning “The Goat” in Prussian, and takes on the qualities of Capricorn, the Sea-goat, the opposite sign of Cancer, because “this is the time when Saulė has reached her fullness and is turned back upon her course by Ragana the Witch Goddess.”56

According to Lithuanian folklore, every person has a star in the heavens that appears when they are born and watches over them like a guardian angel. When they die, that star guides them through the Otherworld. In other star lore, the Big Dipper is “The Wagon of Perkūnas”57 and Polaris is his goat.

The deities and spirits I have shared here are just a sampling of the rich and vibrant pantheon of the Amber Coast, and any lover of mythology will relish in the pages of this book. The detailed descriptions of festivals and sigils will also enable readers to incorporate Baltic traditions and magical workings into their personal pagan practices as they celebrate the eternal Dance of the Sun Goddess.

Witchcraft and the Shamanic Journey, by Kenneth Johnson

Witchcraft and the Shamanic Journey, by Kenneth Johnson
Crossed Crow Books, 979-8985628173, 212 pages, January 2023

From accusations of shapeshifting and spirit flight to keeping the company of bestial familiar spirits, the testimonies recorded during the European witch trials bear an uncanny resemblance to ancient and universal shamanistic practices. In his classic work Witchcraft and the Shamanic Journey, author Kenneth Johnson posits that European witches were indeed practicing a form of shamanism, “the world’s oldest spiritual path.”47 This view has already been well articulated in Eliade Mircea’s Shamanism: Archaic Techniques of Ecstasy (1951), and the scholarly works of Italian historian Carlo Ginzburg, such as Night Battles: Witchcraft & Agrarian Cults in the Sixteenth and Seventeenth Centuries (1966) and Ecstasies: Deciphering the Witches’ Sabbath (1989), but Johnson builds upon historical evidence for the purpose of reconstructing ancient shamanic practices for modern witches.

Johnson is a professional astrologer and the author of several books, including Mythic Astrology (1993), which he co-authored with Arielle Guttman, and Jaguar Wisdom: An Introduction to the Mayan Calendar (1997). Johnson is originally from California, but currently resides in Mexico. He also spent a decade in Guatemala, where “he was initiated into the indigenous Mayan priesthood as an aj q’ij (keeper of days) in November of 2017.”48 Witchcraft and the Shamanic Journey is his personal favorite among his published works.

I read a previous edition of this book, published by Llewellyn under the title of North Star Road (1996), and I didn’t realize this was the same book until I started reading it. It was nonetheless a pleasure to revisit this superb work, as it contains a wealth of information and was one of the most influential texts in my transition from mainstream Wicca to the more shamanic practices of Traditional Witchcraft. This new edition, published by Crossed Crow Books, includes spiritual exercises inspired by Johnson’s tutelage under Russian shamans. It also has a foreword written by Nicholaj de Mattos Frisvold, author of Craft of the Untamed (2014) and Seven Crossroads at Night (2023), and a preface by Robin Artisson, the author of An Carow Gwyn: Sorcery and the Ancient Fayerie Faith (2018) and several other works on Traditional Witchcraft.

Witchcraft and the Shamanic Journey is interspersed with beautifully written fictional vignettes that capture glimpses of shamanic witchcraft practices throughout Europe, such as “Greenland, AD 1000,”52 which features a priestess of the Norse goddess Freya practicing seidr; “Northern Italy, 1600,”53 which dramatizes the spirit flight of an Italian benandante, or “good walker,”54 who protects the harvest by fending off evil spirits with a fennel stalk; and “Scotland, 1662,”55 which glimpses the trial of Scottish witch Isobel Gowdie.

In the introduction, Johnson provides a brief historical survey of the environmental and cultural factors that led to the witchcraft trials, “a holocaust that, we should remember, took place not during the so-called Dark Ages, but during the more ‘enlightened’ age of the Italian Renaissance and the early years of the scientific revolution.”58 In the tumultuous 1300s, the Black Death, crop failures, peasant revolts, and the uprising of radical religious movements, such as the Cathars and Waldensians, contributed to a widespread fear of “an epidemic of witchcraft.”59 Inquisitors believed heretics were members of a diabolical cult, “formed about 1375, which called upon demons who often bore the names and attributes of old pagan divinities, and which met by night in ceremonies called Sabbats.”60

These so-called witches anointed themselves with flying ointments made of hallucinogenic herbs and took flight in spirit, either astride animals or riding broomsticks, riding the night winds to the Sabbat where they danced in orgiastic rites with a horned devil. Johnson suspects that there could have indeed been a witchcraft crisis cult, which arose in response to the drastic decline of medieval society. By returning to traditional shamanic beliefs and blending them with folk Christianity, members of this hypothetical cult may have been attempting to end “aristocratic dominance through magical social revolution.”61 One of the most fascinating theories Johnson presents is that the medieval dancing plague was the shamanic dance of a crisis cult.62

The ancient spiritual practice of shamanism involves the practitioner entering trance states and traversing the spirit realm, from the heavenly heights of the gods to the Underworld of the dead, in order to bring back knowledge and healing wisdom to the benefit of their community. Although the word “shaman” originated in Siberia, Johnson claims that shamanic practices are the spiritual foundation upon which many world religions were built.

In “Part 1: Otherworlds,” Johnson explores the shamanic view of the cosmos.

“According to the cosmovision of the shaman, the North Star is the axis around which all things revolve,” Johnson says.63 “When shamans depart upon their spirit journeys, they often take the road to the North Star.”64

According to the Buryat people of Siberia, the sky is a great tent punctured with stars, and the North Star is the central pole which holds up the heavens. The stars themselves are a herd of galloping horses tethered to the polestar. In various cultures, the axis mundi, or world axis, is envisioned as the central pillar of the cosmos, embodied in the World Mountain, the World Tree, or even the Maypole. Using this axis, the shaman can navigate the three realms of Heaven, Earth, and Underworld. When depicted as a tree, the branches are imagined to reach up to the abode of the Sky Father, and the souls of unborn children roost in the boughs, as well as an eagle, the primary totem of shamans, and the “Bird of Prey Mother,” who lays the eggs from which shamans are born. The roots of the tree burrow deep into the Underworld, where a great serpent dwells.

Through comparative mythology, Johnson provides compelling evidence of similar shamanic beliefs throughout the world, citing examples of several World Trees, such as Yggdrasil, the World Tree of the Vikings; the great ceiba tree of the Mayans, which grew from the back of a crocodile; the Kabbalistic Tree of Life; and the Underworld cypress tree of the Orphic mysteries. The World Tree even appears in the witch trial of Joan of Arc (1412-1431), as she was accused of dancing around a “fairy tree”65 when she was a child, suggesting the survival of ancient shamanic practices in early fifteenth century Europe.

Variations of the World Mountain also appear in many cultures, from megalithic monuments, volcanoes, and Mayan pyramids to the abode of the Greek gods on Mt. Olympus. In the witch trials, the World Mountain appears as the home of the witch goddess. In the early 1500s, an Italian peasant accused of witchcraft named Zuan delle Piatte confessed that Venus had whisked him away to the Sabbath upon black horses, and he had visited Herodias in the mount of Venus. In 1630, a German witch confessed to traveling in spirit to visit the goddess Holda in a mountain called the Venusberg.

“All our images of the Goddess in the Mountain or Tree are ultimately metaphors for the kundalini or ‘serpent power,’ a feminine energy both sexual and spiritual that has its origins at the base of the spine and, during spiritual practice, travels up our own internal World Tree or Mountain to the crown of the head—at which point we experience enlightenment,” Johnson says.66

Just as the shaman’s tent is mobile, so is the center of the universe. The moveable axis mundi, or World Tree, corresponds to the upright spinal column unique to human bipedalism. The skull, which is the spirit house of human consciousness, is elevated to the heavens, and the earth goddess or Fairy Queen slumbering at the base of the spine is the kundalini serpent.67

According to Buryat mythology, the first shaman was born from the union of an eagle and a human woman, “which, symbolically, tells us that shamanism is ‘born’ from the union of the enlightened consciousness which dwells at the top of our own internal World Tree with the feminine potency that sleeps at its base.” 68

“Though one may be born to a shamanic vocation, one attains power and mastery only through initiation,”69 Johnson says. Shamanic initiation may manifest as being called by spirit voices and having a vision of death and dismemberment, followed by a rebirth experienced during a physical illness or a bout of madness, which we would perceive in modern times as a psychotic break. In European mythology, the Norse god Odin is the most obvious shamanic figure, as he was wounded by a spear and sacrificed himself to himself on the World Tree. There are also Welsh legends of Merlin in which he was once a warrior who went mad and lived in the woods like a wild animal after a traumatic experience on the battlefield. The Orphic myth of the death and dismemberment of the Greek god Dionysus is another striking example of shamanic initiation. As a child, the Titans murdered him and cooked him in a cauldron, which echoes the inquisitors’ grotesque fantasies of witches have cannibalistic feasts, involving the boiling of unbaptized babies in cauldrons and the use of their fat in flying ointments. 

“The Old Bone Goddess,”70 with her cauldron of death and rebirth, is the one who resurrects the shaman. She is the “Bird of Prey Mother”71 of the Siberian Yakut shamans. When the shaman’s magical powers have ripened and are ready to be activated through initiation, she dismembers him and feeds his body parts to demons. Then she reassembles his bones and resuscitates him.

I wonder if modern society’s disassociation from traditional shamanic practices can cause such initiations to manifest through traumatic life experiences, rather than just dream visions. After I performed a formal self-initiation ritual, I had initiatory dreams and visions, but my waking life also catastrophically fell apart, and it coincided with my Saturn Return. I lost everything, from material possessions to family members, and experienced frequent psychic attacks by a shadowy demonic entity that appeared to be attached to an abusive boyfriend. When it finally withdrew, several months after I escaped that toxic relationship, I heard it tell me that it was sorry for what it had put me through, and I never felt its presence again. It wasn’t until I read this book that I realized that the ordeals I experienced were part of an initiatory dismemberment and I came to terms with the fact that the Dark Mother to whom I was devoted had allowed those horrors to happen to me as part of the process.

Wicca, with its sugar-coated love and light Mother Goddess, did not adequately prepare me for the brutality of my shamanic witchcraft initiation, and reading the previous edition of this book, North Star Road, revealed the harsh truths of my spiritual path. I share what happened to me as a cautionary tale, because I initiated myself not fully understanding what I was getting myself into. I thought I was adequately prepared after studying Wicca for over a decade, rather than the customary year and a day, but the witch’s path is riddled with rose thorns, and true wisdom comes through suffering.

Witchcraft and the Shamanic Journey fills in the gaps of knowledge that are missing in mainstream pop culture witchcraft. Johnson elucidates how ancient shamanic practices infuse the folkloric witchcraft of medieval and Renaissance Europe, and are the backbone of witchcraft today. This is an essential text for any serious practitioner who has been called by the spirits and seeks to reclaim their shamanic roots.