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Tag Archives: divine feminine

Divine Codes Oracle, by Leah Shoman

Divine Codes Oracle, by Leah Shoman
Sacred Scribe Publishing, 9798218092085,46 cards, 80 pages, February 2024

From the shining, metallic type on the deck box to the rich colors of the floral and pop culture collage graphics, Divine Codes Oracle by Leah Shoman is truly a work of art. Within the deck, Shoman combines photos of roses with pianos and Buddhist monks with clouds. Landscapes pair with sky divers and children from the 1960’s play in the stratosphere. Her goal is simple with this deck: share love in all forms and with all people. She tells the reader on the inner lining of the deck’s box:

“I Love you, Sweet One. Pass this love on to all those you encounter, for you are the connection point. You are the point which tips the scales of balance between love and hate.”

Shoman is a crystal energy healer, author, and deck creator, who brings guidance from Spirit to her clients and readers. She has published numerous decks and books. She also has an online crystal shop where she offers crystals sourced from around the world. Learn more about her offerings on her Instagram.

For my first visit with the Divine Codes Oracle, I chose card #33 Sacred Realm. The card features a surfer and orca whales against the backdrop of a Buddhist temple and an eclipse in the sky. Unusual graphics for a message about the importance of tuning into your heart, but Shoman reminds us that we do not need a temple or church, just solitude and a connection to our inner self. In the guidebook, she marries the graphics and lines on the card with a suggestion to “feel the interconnectedness of it all.”1

I took the deck to my Friday Coffee & Cards group and asked each friend to pull a card. Everyone loved the deck! They complimented the colors and rich graphics. However, most of all, they appreciated the messages from Spirit that Shoman reveals.

My friend Paula drew a card that talks about self-acceptance. It highlights a heart that breaks open and then a Divine love that is “finding its way to fill crevices with pure golden light. Repairing, resolving, renewing.”2 Paula said, “I think I can feel that happening in my life right now!”

Another friend drew a card that suggested she start moving her body. It features two dancers and several butterflies. “Step out of your mind and into your heart. Move your body to shift your vibration and release any stagnant energy currently present,”3 the message says. She said that the message really hit home for her.

I really enjoyed working with this deck. I sent card messages to a few friends via text and each one really resonated with the message and the graphics. It seems to me that these cards are truly sourced from Divine wisdom and Shoman has a real way with words that focus on encouragement and healing. My favorite card in the deck is # 30 Bigger Picture:

“Zoom out. A shift in perspective is needed in this moment to gain clarity around a current situation you feel stuck in. You will never be free until you free yourself from the prison of your own false thoughts.”4

Shoman includes a table of contents, brief introduction, how to use the cards, and three different kinds of spreads. For the three-card spread, she presents five different ways to do a three-card spread. Her five-card spread presented a bit of a twist on what I’ve worked with in the past: “current overall energy; current concerns and complications; hidden factors; new ideas, people or things that can help you grow further; what you need to be more aware of within yourself.”5

This deck is a standard size for oracle decks and the card stock is a good weight. The cards are numbered and shuffle nicely, and I can tell they’ll hold up to frequent use. Along with the metallic imprint on the flip box that holds the set, the cards have a lavender metallic edge. The guidebook messages are clear and concise, in that Shoman keeps the guidance for most cards to a one-page limit. There are a few instances where she features a poem or other channeled guidance on the facing page.

I really like that the guidebook is printed in full color. The pages feature either a full-color thumbnail of the card and guidance or graphics that she has pulled from the cards. For the pages that feature her poems or prose, she prints on top of muted graphics. The paper stock for the guidebook is a nice weight and has a satin finish.

Divine Codes Oracle would be great for any level of oracle or tarot card reader. The guidance is simple to read and understand and you can even use the cards as a stand-alone message–the heart of the message is printed on each card. I plan to add this deck to my collection to use after an intuitive reading or natal chart reading for clients. It will make a nice way to close the session.
Shoman has created a beautiful deck that focuses on love and radiates the importance of self-love and self-acceptance. She sums it up in the introduction:

“Divine Codes Oracle is a deck about LOVE. You are called to hold the frequency of love. You are called to be the embodiment of love and anchor it into the Earth Plane. This deck is bringing forth pure love consciousness, for we as a collective need it now more than ever. It will attune to your energy when you hold it and it will tell you exactly what you need to hear in that moment”6

The Yoni Egg, by Lilou Macé

The Yoni Egg: Reveal and Release the Sacred Feminine Within, by Lilou Macé
Destiny Books, 1620558653, 192 pages, September 2019

I’ll admit that I was a bit dubious about yoni eggs at first. But the more I thought about, the more these feelings had to do with a resistance towards bringing my awareness to this part of my body, as it felt a bit shameful and naughty. The Yoni Egg: Real and Release the Sacred Feminine Within by Lila Macé opened me to see the way yoni eggs can be physically, emotionally, and spiritually healing. After reading this book, I’ve found the courage and confidence to begin my own yoni egg practice.

Lilou Macé has dedicated her life to promote the art of creating a healthy and fulfilling life. She has an extremely popular YouTube channel where she shares her wisdom with others. She also organizes events worldwide, naturally creating conscious communities globally.

This book begins with Macé teaching readers about the yoni, providing colorful graphics that give perspective about the area of the female body. She then moves into the yoni eggs, from their origin to their symbolism. Before diving in further, there’s an exercise provided to test how toned you perineum is as a baseline for moving forward with the exercises.

There’s a whole chapter covering the range of benefits working with a yoni egg has for a woman. Some of these include building self-confidence, liberating past memories, preventing your internal organs from dropping, easing PMS symptoms, decreasing incontinency, intensifying orgasm, and rebalancing the libido. Through this section, there’s tons of quotes from people who have first-hand experienced the benefits and share their perspective.

The second part of this book focuses on how to find the perfect yoni egg for your situation. Macé covers all the lifestyles/times in life one might be in the position to use the egg, from being over stress to preparing for childbirth to having undergone an hysterectomy. The key is to understand your intention for using the yoni egg as you make your selection, as different types will have certain benefits. She also helps readers to consider the correct size by considering factors like your current tone, activity level, age, previous surgeries, yoni egg experience, and more.

My favorite part was about the different effects of yoni eggs based on the type of stone. I learned how Nephrite Jade, the stone of harmony, balances masculine and feminine energy while promoting inner-knowledge, while Smoky Quartz, stone of rootedness and stability, provides grounding and balancing between the material and spiritual world. This section is immensely helpful for selecting the type of stone that is best sited for what you wish to accomplish with your yoni egg. Macé also includes guidance on how to spot a fake egg and take care of the egg based on the type of stone it is.

The next half of the book is about actually using the yoni egg. Macé beings with teaching readers how to prepare, insert/remove the yoni egg, and how keep it in you during your practice. All of these things take time, and the main focus is to move at your own pace and not rush through. Lubrication is important, and readers are encouraged to take breaks as needed. There are plenty of colorful pictures for reference to help readers know exactly what to do.

As one’s yoni egg practice develops, Macé asserts readers will be able to better communicate with their yoni egg through programming it with intentions, as well as listening to the wisdom of their yoni more. This practice is a method of attuning oneself to healing and listening to the intuition of the divine feminine within. Macé offers rituals one can do with their yoni egg, such as a writing a special letter or taking a sacred bath, to further deepen their bond with their bodies while using their yoni eggs.

Overall, The Yoni Egg is a wonderful resource for those interested in this healing modality. From enhancing your pelvic floor and vaginal muscles to clearing out lingering emotions and reviving creativity, the benefits of this practice as limitless. Macé is a very gentle guide, who ensures readers are equip with all the knowledge needed to be their own practice. I recommend reading this book before even purchasing your stone, as there’s pertinent information about how to make the best selection. Once you’ve picked out the perfect yoni egg, the rest of the book will be a wonderful initiation into the power of the yoni and sacred feminine within.

Celtic Goddess Grimoire, by Annwyn Avalon

Celtic Goddess Grimoire: Invoke the Enduring Power of the Celtic Feminine Divine, by Annwyn Avalon
Weiser Books, 157863802X, 224 pages, March 2024

At the end of 2023, I signed up for a thirteen-moon prophecy reading with Danielle Dulsky. The intention I set for the reading was furthering my understanding of the “flavor” of my magic. I was curious about what spiritual pursuits were most aligned for me right now. A very significant piece of my prophecy was the Awen symbol, so important that Dulsky explained it was the mythic image for me to draw upon this year. In a pursuit to learn more about this symbol, I’ve been doing increasing research on Celtic traditions, particularly Druidism. I felt an instant pull towards Celtic Goddess Grimoire: Invoke the Enduring Power of the Celtic Feminine Divine by Annwyn Avalon, as though connecting with the Goddesses of the Celtic tradition is the next step in my journey.

Avalon is the perfect person to write this book. She is a Celtic witch and water priestess, who has years of study in water mysteries, witchcraft, and magic. Her previously published titles include Water Witchcraft and The Way of the Water Priestess. Currently, she serves as the keeper of the White Spring, a sacred spring in Glastonbury where she lives. As if all isn’t cool enough, she is also the sacred steward of Chalice Orchard, the former home of Dion Fortune.

Avalon begins by sharing with readers a journey of her life, from growing up in a conservative Christian home to becoming a devoted priestess of the Divine Feminine. Her story felt very relatable, as I’m sure it will be for many others who feel called towards Goddess worship. She explains how while initially she wanted to write a scholarly book about the goddesses, she realized in the process that the dynamic Celtic goddesses could not be confined to specific categories. The book took its own form, which she describes as:

“I wanted to build a bridge between the vastness of each goddess and those who seek her. In the end, I embarked on a goddess-guided journey, allowing them each to show me the highlights of their magic, and teach me what they wanted emphasized in the pages of this book–the best pathways for others to find them and experience their energy.”1

This connection to the energy of the many Celtic goddesses is exactly what I felt while reading this book! Since I am still in the beginning phases of learning Celtic spirituality, I decided to see which goddesses I was naturally drawn to while also keeping an open heart and mind in case any of the goddesses came to me. Avalon does offer some insight into the process of  connecting with a goddess, noting relationships will be different for each person, the goddess you call upon might not answer, while another goddess might abruptly come into your life. Above all, Avalon encourages listening to your own “unverified personal gnosis”2, or UPS for short, even if the information you’re receiving isn’t verifiable by outside sources.

For those new to the Celtic belief system, Avalon covers a bit of history (Roman conquest strongly impacted the Celtic cultures), the role of women in the Celtic world, the Celtic otherworld, and Celtic rituals and practices. Some exercises she shares are how to build an altar, create your own sacred image or blessed candle, and make a goddess simmer pot, incense, and bath soak. These exercises don’t require too many materials, and most could probably do them with the items they have on hand, which is something I always appreciate as a devotee on a budget.

The Part II – Part VII of the book focus on different types of goddesses: Goddesses of the Sacred Waters and Landscape; Goddesses of Abundance, Fertility, and Healing; Goddesses of Battle and Justice; Faery Women; Goddesses of Magic; and Horse Goddesses. Within every part there ranges from two to seven chapters which each cover an individual goddess. At the start of the goddess chapters, Avalon shares name variations, regions, sacred associations, offerings, and body of water. While not every goddess has each one, this plethora of information is fascinating and useful for building a connection with the goddess. It really made me want to go visit these locations and sites on a goddess pilgrimage!

Avalon delves into the history and folklore of each goddess. She covers things such as what the goddess is most well-known for, what artifacts reveal about them, the cultures that revered them, and how goddesses evolved through time, many having their names changed or Christianized by Romans. At the end of each chapter, Avalon provides customized exercises for the goddess. For example, for the Andraste, Invincible Goddess of War, one of the exercises is a prayer for justice, while the exercise for Melusine, Mermaid Goddess of the Fount, is a ritual bath to ask her blessing.

While every goddess was fascinating to learn about, the one that was most awe-inspiring for me to learn about was Rosmerta, The Great Provider. She was an abundance goddess associated with “springs, healing, prosperity, abundance, protection, and fruitfulness.”3 I was intrigued to learn in continental Europe, she was considered the consort to Mercury. Mercury is one of the primary deities that I work with, and never before had I come across any material about him having a consort. I am absolutely going to be weaving in working with Rosmerta as well, hoping the couple will enjoy sharing in ritual together! Exercises that Avalon shares for Rosmerta are an invocation to her and an abundance ritual where fruits, vegetables, and spring or blessed water are given as offerings. I am looking forward to building an altar to Rosmerta and performing the invocation and ritual!

Another goddess that I felt drawn to is The Giantess Cailleach. Avalon writes how she “is often depicted as the personification of winter” and is “variously known as a creator goddess, a storm goddess, a destroyer, and as a giantess who can move large boulders, make mountains, raise seas, and create windstorms.”4 Now, this is one incredible goddess! Exercises Avalon includes for The Cailleach are using storm water for protection and creating a harvest spirit doll, both of which I plan on doing when the timing is right.

Oh! And guess what? In the midst of being immersed in reading about Cerridwen, I flipped the page to see the Awen symbol right there! I did not realize Cerridwen’s mythology was related to this story, and it gave more insight into the meaning of Awen for me. I knew I was meant to read this book!!

At the end there are two appendices for added convenience. Appendix A is titled “Glossary of Celtic Goddesses and Faery Women ” and Appendix B is titled “Index of Exercises and Rituals”. Both make quick-references extremely easy. And one more really neat feature of the book is the maps on the front and back cover. The front cover is a colored map of modern Celtic lands, while the back cover is a map of the historical dispersing of Celtic tribes. For someone not as familiar with the Celtic landscapes, these maps are very helpful when reading about the goddess’s associated locations.

All in all, Celtic Goddess Grimoire is an awesome resource for learning more about the Celtic divine feminine. As a beginner, Avalon made the material very easy to navigate, focusing on providing ample information to provide a full perspective.Those already working with the Celtic pantheon would surely benefit from reading this book too, as Avalon’s insight add new perspectives and the exercises and rituals are good to have available. This is a book that I’ll surely be referring to time and time again, as well as sharing with others I know are feeling called to explore the roots of their Celtic ancestry.

The Madonna Secret, by Sophie Strand

The Madonna Secret, by Sophie Strand
Bear & Company, 159143467X, 608 pages, August 2023

A tale as old as time, the tragic story of lovers parted by fate, is what one might expect for a Shakesphere play, but the roots of Christianity? Not so much. Yet the tale artfully woven together in The Madonna Secret by Sophie Strand is by far the most epic love story I have read to date.

Strand is an enticing writer, drawing the reader slowly into the stories with descriptive words that bring the setting to life. Her website describes how her work “focuses on the intersection of spirituality, storytelling, and ecology” 1 These themes clearly come through in The Madonna Secret, which is a historic fictional novel based on the gospel through a feminist lens.

The story is centered upon Miriam of Bethany and her family, including siblings Lazaros (Lazarus), known for his resurrection by Jesus, and Marta (Martha). The family dynamics are centerfold for this story, highlighting gender inequalities and “norms” in both religious and social context. Miriam dances to the beat of her own heart, but struggles with finding her place when she doesn’t fit in with the women and yearns for the knowledge of scripture limited to men’s access only.

Through attending births with her housemaid Kemet, who is from Egypt, Miriam learns the secrets of herbal healing and that she, surprisingly, has the ability to heal people with her touch. However, she is also prone to fits and fainting, which others believe is from demon possession. Her ability and episodes sparks many questions as she seeks to know more about her healing ability – why can she heal some and not others? Is this a power from God or could it be used for harm too? How is she even able to perform such feats?

Despite her deep internal quest, Miriam’s life as a young woman of this time continues forward, and she becomes betrothed to a wealthy spice merchant. Yet when she suffers another episode, her family decides it’s in her best interest to seek healing. Miriam and Lazoros set out on a quest, and soon enough, they find themselves at the camp of Yochanan. Yochanan is not the only healer here though; much of the community also revels in the stories of Yeshua around the campfire. There’s a subtle undercurrent of a growing divide between the two men.

At this juncture, Miriam and Yeshua both feel the inexplicable pull of destiny as their paths cross more. However, now that she’s been healed, Miriam returns to her life in Bethany. Without giving too many spoilers into the twists and turns of their love story, I will say the rest of the story follows the passionate romance between Miriam and Yeshua. Their similarities and contrasts both, pulling them together and repelling them at the same time, shaping the fate of the world in the meanwhile.

Now that the general premise is outlined, and keeping in mind this is a 600-page book filled to the brim with details, textures, and revelation that my short synopsis hardly covers, I need to share my own feelings about the text: I have been permanently internally shifted, turned around, and rearranged after reading this book on the deepest level. The profound places Strand’s writing was able to take me within myself, uncovering buried parts of my psyche and cracking open my heart, has left me a new person. I know this might sound dramatic or perhaps an embellishment, but it truly is not.

Thus far in my life, as an avid reader, I have never experienced the afterglow I’ve been basking in from this book. All the sorrow, grief, and love bundled within have been pouring through me and silently working their magic. It’s been over a week now and I haven’t been able to move onto a new book yet because everything else feels shallow in comparison. The Madonna Secret has hold on me; the message of the story has sunk deep into my bones, activating my consciousness, allowing me to perceive the evolution of Christianity in a new light.

As someone who has studied Christianity through a feminist lens, nothing has tied pieces together for me more than this book. And I think it’s the power of narrative, which Strand has mastered, that is what propels shifts in consciousness. It’s one thing to read the actual gospel, another to read feminist theologian’s perspectives based on their academic research, but to take the source material and transform it into such a profound story is brilliance and talent beyond comprehension. I’m so thoroughly impressed by Strand’s writing ability and keen insight into how all these pieces fit together.

The Madonna Secret is a story that will continue to live on in my heart forever. Upon reading the last sentence, I quietly – and completely unconsciously – whispered to myself, “This is the best book ever…”. I had no words; the activation of my soul was in motion. I’ve done my best to string together cohesive thoughts in this review, yet even as I’m writing, all I’m feeling is the love within my body that has taken residence since bearing witness to Miriam’s journey. 

Strand has truly rewritten the narrative of Christianity in a way that makes sense and heals. I hope to see the activation of this book spread far and wide, which is why I have already gifted copies of it to those I know will be open to its message. Little by little these shifts in consciousness, which reconnect the material and spiritual, realigning humanity and nature, masculine and feminine, and the mundane and divine, is what will create a new world view. Strand is a pioneer voice, reshaping the mythos and landscape to give voice for those who need it most: the land, the animals, the outcasts, and the women!

As Miriam says:

“I am here for the trees. The women. The children. The birds. I am not here for the men who would hurt them all.”2

The First Female Pharaoh, by Andrew Collins

The First Female Pharaoh: Sobekneferu, Goddess of the Seven Stars, by Andrew Collins
Bear & Company, 1591434459, 464 page, April 2023

Most people are familiar with the famous Egyptian queens Cleopatra, Nefertiti, and Hatshepsut, but few are aware that they were preceded by Sobekkara Sobekneferu, the first woman to break the glass ceiling and be crowned pharaoh of Upper and Lower Egypt. Sobekneferu (pronounced “sob-bek-nef-frew”) was the last ruler of the Twelfth Dynasty, which brought the Middle Kingdom to a close about 3,800 years ago. She may have been around 30 years old at the time of her accession to the throne, and she ruled for almost four years, between the approximate dates of 1798 to 1794 BCE. The circumstances surrounding her coronation and her untimely death are unknown.

I first learned of Sobekneferu by reading Egyptologist Kara Cooney’s work When Women Ruled the World: Six Queens of Egypt (2018), and I was thrilled to review a book dedicated to this fascinating monarch. In The First Female Pharaoh: Sobekneferu, Goddess of the Seven Stars, author Andrew Collins (Göbekli Tepe: Genesis of the Gods, 2014) does rigorous archaeological detective work, analyzing a variety of statues and beads honoring Sobekneferu, in an effort to humanize her and unravel the mystery of her life and death. This book also has a historical whodunit vibe, as Collins explores possible political intrigues that may have led to her rise and fall. It’s amazing how much information can be gleaned about her from so few inscriptions and artifacts, and Collins walks the reader through each exhibit, clarifying its context.

Collins begins his search for the enigmatic Sobekneferu in London’s British Museum, where he inspects a cylinder seal bearing her royal titles. He presents clear diagrams of the inscriptions on the seal, accompanied by translations of the hieroglyphs so the reader can examine the artifact along with him and imagine the feeling of this ancient stone bead rolling between their fingers. We learn from the seal that her throne name, Sobek ka Ra, means “Sobek is the soul [ka] of Ra,”1 and her personal name, Sobek neferu, means “Beauties of Sobek of Shedet”2. 

The ancient city of Shedet (known to the Greeks as Crocodilopolis), located in the lush oasis of the Fayum, was the cult center of the crocodile god Sobek, to whom Sobekneferu was devoted. Sobek was a manifestation of the solar deities Ra and Horus, and as Sobek-Ra he represented the sun’s nocturnal journey through the Fayum’s great lake, Lake Moeris, before being reborn at dawn every morning.  He was also connected with the divine right of kings to rule and the annual flooding of the Nile. Before Sobekneferu, the Twelfth Dynasty pharaohs, who ruled Egypt from the city of Itj-tawy in the Fayum, adopted the name of Amun or his consort Wosret. Sobekneferu’s identification with the fierce male crocodile god and her alliance with his local priesthood may have politically supported her claim to the throne.

Another seal in the Egyptian Museum in Cairo gives the grammatically masculinized forms of her names, suggesting that the gender of her royal epithets may have sometimes been changed to legitimize her rule. A headless quartzite bust of Sobekneferu in the Louvre Museum in Paris may have been smashed in an attempt to erase her from history. What remains of the decapitated statue depicts the striped lappets of the nemes-headdress worn by male rulers cascading over her shoulders, and although she is wearing the shoulder straps of a woman’s dress, she appears to have flattened breasts.3 Like the Eighteenth Dynasty Queen Hatshepsut, it appears that Sobekneferu masculinized herself to be accepted as pharaoh, and perhaps Hatshepsut was inspired by her predecessor’s images. Other statues Collins analyzes have also been defaced. He explains that iconoclasts broke noses off of statues in the belief that without them the soul of the deceased wouldn’t be able to breathe in the afterlife.

Sobekneferu’s Two Ladies appellation, Sat sekhem nebet tawy, meaning “Daughter of Power, Mistress of the Two Lands,” is a reminder that she inherited the throne from her father, the mighty king Amenemhat III.4 Sobekneferu further legitimized her reign through her divine patriarch by honoring his memory, completing his pyramid complex at Hawara, known as the Labyrinth. 5 She deified him there and made herself the high priestess of his temple cult, a suave political move that emphasized her reign being the will of the gods. 6

Her Horus name, Meryt-Ra, meaning “Beloved of Ra,” was feminized, and was a title often given to priestesses, indicating that she may have served as one before rising to power.7 Collins believes she may have served the goddess Hathor. 8 During the Twelfth Dynasty, it was trendy for queens and kings to be depicted as sphinxes. In doing so, the monarch embodied the lion-headed goddess Sekhmet, the vindictive aspect of Hathor, whose name means “The Powerful One.”9

While Sobekneferu’s tomb has never been discovered, there is evidence that cult veneration of her continued long after she passed away. Graffiti left by visitors in the funerary chapel connected to the Theban tomb of a priestess of Hathor named Senat indicates that her burial site doubled as a place of veneration for Sobekneferu.10 Perhaps pilgrims were drawn to this location because it was the only Middle Kingdom tomb built for a woman.11

Sobekneferu’s older sister, Neferuptah, was heir to the throne, but she died young, and was buried in a small pyramid in her father’s temple complex. 12 Neferuptah was the first Egyptian woman in history to have her name inscribed within a royal cartouche, suggesting that her father may have been preparing her to rule after his death.13 Collins brings up the possibility that Neferuptah was murdered.14 Her cause of death is a mystery because her body unfortunately disintegrated due to groundwater leaking into her tomb.15

After Amenemhat III passed away, presumably from old age, Sobekneferu may have wed her brother Amenemhat IV upon his ascension to the throne and co-ruled with him, a position that had been intended for Neferuptah.16 Nine years later, Amenemhat IV died without a male heir to take his place, perhaps due to sterility resulting from generations of inbreeding.17 

In ancient Egypt, a woman could take the throne as regent, temporarily ruling on behalf of an heir who was perhaps too young to rule himself.18 Hatshepsut, for example, established herself as regent but did not relinquish the throne when the male heir, her co-king and nephew, came of age. After the death of her brother-husband Thutmose II, Queen Hatshepsut served as regent for her two-year-old nephew, Thutmose III 19. Instead of functioning as a placeholder who would step down when he came of age, by the seventh year of her regency (or perhaps sooner), she was officially coronated as king, assuming full pharaonic power through the religious authority of the oracle of Amun, which had declared her the rightful ruler. 20

In the case of Sobekneferu, when her brother died, there was no heir, and she took the throne without the pretense of regency, which is quite amazing. Collins suggests there may have been a nationalist plot to usurp Amenemhat IV and place Sobekneferu on the throne.21 Her brother’s “progressive ideologies” and open border policies would have been perceived as a threat to Egyptian nationalists, who were concerned about the influx of western Asiatic foreigners settling in northern Egypt and occupying positions of power, which no doubt paved the way for the Hyksos invasion a few generations later. 22 He was also allied with the priesthood of Atum in Heliopolis rather than the local cult of Sobek. 23

A controversial theory which Collins presents for the first time in this book is that the legend of Queen Nitocris, recorded in book II of The Histories by the Greek historian Herodotus in the fifth century B.C.E., is a dramatized account of Sobekneferu exacting revenge for her brother’s regicide. 24 According to the legend, Nitocris invited the Egyptian subjects who murdered her brother-husband to a banquet in an underground chamber and then drowned them by flooding the room with Nile water through a secret channel. 25 Afterwards, she committed suicide by throwing herself into a chamber of hot ashes in order to avoid retribution for her actions. 26

The Egyptian historian Manetho recorded that Nitocris was the last ruler of the sixth dynasty, but there is no evidence that she ever existed, and Collins believes that the twelfth dynasty ruler Sobekneferu is the best historical fit. 27 “The real Nitocris of legend was, I would argue, an abstract memory of the life and deeds of Sobekneferu,” Collins says. 28 He suggests that she may have collaborated with Egyptian nationalists to have her brother assassinated, then shifted blame onto her political opponents after she was placed on the throne. 29

Sobekneferu may have fallen out of favor due to low flood waters during the third year of her reign, which would have been disastrous for the cultivation of crops. 30 Since the failure of the inundation would have been perceived as her fault, Collins suggests that she may have been pressured by the priesthood at Heliopolis to take the role of sacrificial king and either commit suicide or be murdered. 31 

Collins has an intriguing theory regarding the method of her ritual death. He suggests that the serpent involved in Cleopatra’s suicide may have been symbolic for the ingestion of poisonous plants or the inhalation of their smoke, 32 which leads him to believe that the chamber full of hot ashes into which Nitocris threw herself may have been a room suffocated with mephitic fumes, and that this was how Sobekneferu committed suicide. 33

While the theories Collins presents are often pure conjecture, he clearly delineates between what is based upon concrete archaeological evidence and what is speculation, all the while acknowledging that we may never know the truth. Readers who are armchair archaeologists will appreciate his detailed analysis of artifacts, and those who want to learn more will find Kara Cooney’s book When Women Ruled the World: Six Queens of Egypt, which Collins cites several times, to be an excellent companion text to The First Female Pharaoh. 

The figure of Sobekneferu is just as relevant today as ever because she presents an interesting historical perspective on gender stereotypes and public perceptions of women’s leadership abilities both past and present. Women in positions of power are still pressured by society to adopt masculine fashions in order to be taken seriously, such as the pant suits worn by modern female politicians and other professionals. One might argue that these suits have evolved to become gender neutral, but originally they were worn to project an air of male authority, and on a subliminal level, they still convey the same message. Appearing androgynous often requires women to minimize or conceal their femininity instead of embracing it, perhaps even blurring their perceived gender identity, as was the case with both Sobekneferu and Hatshepsut. 

Hatshepsut in particular depicted herself as a man towards the end of her reign, and in When Women Ruled the World, Egyptologist Kara Cooney says that rather than this being an indication of her own gender confusion, “Hatshepsut’s problem was that she was trying to inhabit a masculine role within a patriarchal system on a long-term basis while there was a male king already occupying the throne.” 34 Depicting herself as a man was a way of validating her right to rule. 

In modern times, Sobekneferu has reincarnated in pop culture as a dangerous Egyptian queen with supernatural powers who returns to the realm of the living by possessing a young woman’s body. The subtitle of The First Female Pharaoh: Sobekneferu, Goddess of the Seven Stars, invokes Bram Stoker’s Egyptian novel The Jewel of Seven Stars (1903), in which the daughter of an Egyptologist, a young woman named Margaret, is possessed by the spirit of Queen Tera.

Critics have perceived this as a Gothic horror personification of the New Woman movement of First Wave Feminism at the turn of the century. As the spirit of Queen Tera takes control of Margaret, she becomes more strong-willed and independent, putting up increasing resistance to the masculine authority of her father and love interest, perhaps serving as a cautionary tale about the dangers of female empowerment, since Stoker didn’t seem very fond of the movement based on his treatment of strong female characters. 

Collins believes that Stoker’s evil Queen Tera was inspired by Sobekneferu, 35 and that she in turn influenced the character of Queen Kara in the 1980 film based on the novel titled The Awakening, starring Charlton Heston. 36 Collins posits that Stoker’s source materials were two works on ancient Egyptian star lore and mythology by Gerald Massey (1828-1907) that featured Sobekneferu, associating her with an ancient “Mother-Goddess of Time,” the “Goddess of the Seven Stars,” identified with the constellations Draco and Ursa Major. 37

The enigmatic queen Sobekneferu has also made quite an impact on the occult community. Esteemed occult writer Kenneth Grant drew connections between Sobekneferu and an ancient Draconian cult in his Typhonian Trilogies (1972-2002).38 According to the Tumblr account of Pacific North Witches, Sobekneferu even has a feast day, which falls on July 23.39 

It seems this ancient queen has indeed been resurrected into the collective consciousness. Whether we view Sobekneferu as a high priestess of Draconian magic or as the ultimate embodiment of female empowerment, she has achieved the dream of immortality that all the mighty ones of ancient Egypt sought to attain, inspiring new generations with her mysterious legacy, nearly 3,800 years after her death.

Wild Woman Oracle, by Cheyenne Zárate

Wild Woman Oracle: Awaken Your True, Free and Soulful Self, by Cheyenne Zárate
Rockpool Publishing, 1925946835, 144 pages, 44 cards, October 2022

Cheyenne Zárate, the enigmatic artist who created Wild Woman Oracle: Awaken Your True, Free and Soulful Self, knows exactly how you’re feeling when you say you want to reconnect with the wildness inside you. She asks us to “reflect regularly on who we truly are,”1 something which is achievable with this easy to use, beautifully crafted pack.

Zárate is a supremely talented artist, now living in Canada with her two cats, Carlos, and Lily. In this deck, she draws on her Scottish, Chilean, and Ukrainian ancestry to bring us feminine figures from around the world. Her adoration and respect for these wild women is apparent here in her artwork and perfectly written descriptors. Zárate wishes to celebrate women, help them find their strength and power, “to reconnect with their wild feminine nature in order to live in alignment with their authentic truth”2

It was the title of Wild Woman Oracle that first drew me to these cards. I have an underlying “wild woman”, who is desperate to get out and be seen. I thought these cards might help me to embrace her and set her free. Just the thought of getting closer to nature and finding that connection deep within was all I needed to make the decision for this set.

To begin with, before I even opened the pack, I was mesmerised by the imagery. The colors used and beautiful sketch work on the box, I was instantly in love. This is carried throughout, with each card having an almost metallic feel to them, the drawings looked etched, opposed to drawn. The set consists of thirty-six cards and a guidebook, complete with an introduction to Zárate and how to use the cards. A message for each individual feminine icon is included, along with their symbolism.

There is something deep within us that’s wild, leftover remnants from a time when we may have been forest dwellers. It is that urge that makes us want to climb a mountain, swim naked in a lake, or just take yourself forest bathing in your local woods. You find inner peace and a connection to the earth.

I have used many oracle and tarot decks before now, some of which I have found to be extremely useful. They have given me insights into my mind, heart, and soul–insights that I never would have found without them. I have felt that they were created in such a way that I could rely on them for guidance and awakenings, which is how I also feel about Wild Woman Oracle. I knew that as soon as I opened the box, they were going to be there for me and offer that same kind of help.

I have found that classic tarot can often be quite harsh, unforgiving, hard to navigate and honestly, difficult to work with. And although I know we need to take the good with the bad, tarot to me has always been a bit of a tyrant. Oracle cards, especially this deck, give you a softer approach.

I have consulted angel cards  in the past and although their messages and guidance were brilliantly accurate, I am not a religious person and some of the phrases used, such as angels, God, and heaven, just don’t sit right with me and I would find myself changing the words to suit. Usually, I would exchange those words for “the Universe,” a phrase used throughout the Wild Woman Oracle. I had been searching for a deck that would speak my language, and I may have just found it.

Though no deck should be used without prior knowledge of how to read them–you must do your research before diving straight in–these cards are a perfect place to start if you are just getting going on your reading journey. It’s a nice relaxing way to spend time alone, get yourself a cup of honey tea, light a candle, and give yourself time to take in a reading from the wild women of the Universe.

I like to take my cards when I’m away with friends, so we can do a reading every six months or so. I haven’t yet had the chance to show them this fabulous pack, but they will definitely be in my case for our next trip.

I did, however, get the chance to do a reading for my Mum. She chose the classic three card reading: past, present, and future. We were pleasantly surprised to find that the cards touched upon subjects and important life aspects that needed attention at that time, some of which have been an issue for several years. The cards were adamant that this needed addressing immediately and that too much time had already been wasted. They guided her with the steps to take, how she can resolve these issues, and, more importantly, which of the wild women to call upon when needed.

The personal changes I am experiencing at the moment, physically and mentally, have been at the forefront of my mind, and when I did a reading for myself it was obvious that the cards were aware of this. They have alleviated some of my worries, given me an alternate way of viewing things, and I now feel I have them to call on when I need more guidance.

In my first reading, I drew death, destruction, and divine service. My first instinct was of course to worry about what this might mean, but the death card can have an array of different meanings and not the actual death of you or anyone else. It represents new beginnings, a chance to start fresh, tear yourself down, and rebuild. It can be a job, a relationship, a focused time in your life. Here is your chance to reinvent yourself. And this reading gave credence to feelings I’ve had: I need to let go, and I have been given permission, safe in the knowledge that these supreme beings had my back.

One card, the Inner High Priestess, stood out to me. She sits, solitary, the moon visible from her window, her black cat at her feet. She is in control, busy, but rested. Powerful. Pillars stand at either side of her, with the letters B & J, representing Boaz and Jachin from the Temple of Solomon. She holds the balance: good and evil, dark, and light, feminine and masculine. 

“The High Priestess is the portal between the earthly plane and the heavenly spiritual plane: She has one foot planted firmly in each dimension.” 3

The guidebook for this deck is pocket sized, easy to follow and features some lovely designs. The instructions are set out for whichever reading you choose: one card and three card divination, past present and future or situation, action, and outcome. A description for each depicted feminine figure is given, plus what they each represent and the message they wish you to have.

For example, my Inner High Priestess card represents divine service, wisdom, intuition, psychic abilities, and sacred occult. It’s an incredible card to draw, one of which has come to me twice in a row, at a time when I was in desperate need of her guidance, so I feel incredibly honored for it to have done so.

In Wild Woman Oracle, Zárate has drawn upon her own personal experiences in order to bring together the strongest feminine figures from myth, legend, and folklore. These inspiring women who we look up to, seek out, and aspire to be, are all within our reach, right beside us and deep within us.

The Sacred Sisterhood Tarot, by Ashawnee DuBarry and Coni Curi

The Sacred Sisterhood Tarot: Deck and Guidebook for Fierce Women, by Ashawnee DuBarry with illustrations by Coni Curi
Red Wheel, 1590035259, 80 pages, 78 cards, October 2021

Despite tarot reading becoming a booming trend in recent years, few readers seem to be discussing the esoteric foundation of the common Rider-Waite-Smith (RWS) deck. Essentially, the RWS deck is steeped in tradition of the Hermetic Order of the Golden Dawn, which drew from the Qabalah, astrology, numerology, Christian mysticism, Hermeticism, the religion of Ancient Egypt, Freemasonry, Alchemy, Theosophy, Enochian magic, and Renaissance grimoires. Talk about overload!

As a seasoned tarot reader and energy worker, I’ve been on a mission to find tarot decks with a different energy for my readings. The Sacred Sisterhood Tarot: Deck and Guidebook for Fierce Women by Ashawnee DuBarry has been so immensely rewarding to discover. A deck that isn’t steeped in occult traditions that I don’t practice NOR a patriarchal framework? Yes yes yes! This is what The Scared Sister Tarot offers.The energy feels so deeply resonant with my spirit, and the good vibes of this deck have been shining through in all my readings so far.

The box for this deck is hefty, and I love it. Looking at the image on the box makes me feel ready to take on the world. I love that there’s some weight to the deck. Yet, the cards themselves are the perfect fit for one’s hands. Measurements aren’t really my thing, but I would say they’re a little taller than normal play cards yet a bit more narrow in width. Basically, they fit in my hands perfectly and make it really easy to shuffle.

Opening the box is a color-pop of oranges, yellow, red, and light brown tones that make the cards feel infused with solar energy but also grounded. The back of the cards have lovely, luscious pomegranates on them, which is the perfect representation of Divine Feminine energy, as they are known for being a symbol of fertility and abundance.

Illustrator Coni Curi has done a marvelous job featuring a multitude of women in this deck. As you go through the cards, it becomes evident there’s one “no size fits all” model for women. This concept is bolstered by the intent of the deck to tap into the different facets of Divine Feminine wisdom, through both the major arcana and different suits of the minor arcana.

“The Sacred Sisterhood deck was created with inclusivity in mind, from trans folk to cis-gender- all are welcome, unlike the original tarot, which centered its images and descriptions around hte old gender roles. True sisterhood is all about coming together in a sacred space to support one another, no matter how  you identify.”1

The representation in the deck is remarkable. From multiracial relationships between women to women with disabilities, vast identities and body types are portrayed. And this diversity  imbues the deck with a feeling of empowering solidarity, as though I want to see “I see you! I know we’re all out here doing our best, learning what it means to embody this Divine Feminine feeling in our life.”  It’s beautiful because it feels so REAL. This is what womanhood looks like, and it comes in so many shapes, sizes, shades, and orientations, which is something worth celebrating.

While there is plenty of symbolism for each card, Curi didn’t stick to the traditional tarot imagery. I enjoy the modern take on the cards’ meaning and alternative representation to the traditional RWS tarot. One of my favorites is the Judgment card that has a winged angel playing a saxophone as two women dance beneath her. 

There’s a simplicity to the cards too. Each card has a solid-color background that emphasizes the main image on the card. This makes it so the reader isn’t lost in detail and can easily connect with the image that is popping out to represent the card.

Additionally, the emotion of the women featured on the cards is also something that makes this deck unique. Curi has clearly conveyed sadness, discontentment, happiness, and sovereignty. The women of the deck help to connect with the many emotions of life, tapping the reader into their own feelings. Beginner, intermediate, and expert readers all will be able to find meaning and resonance with the imagery of the deck.

Though, I will mention the one thing that threw me off a little at first: the card names are written in French! For instance, The World is called Le Monde and the Ace of Pentacles is called As De Deniers. Luckily, from the imagery and general knowledge of romance languages, I’ve been able to figure out what each card is, but it definitely was a stumbling block that  made initial reading not feel as intuitive as it might with a deck in English. Now that I’ve been reading with this deck though, I feel pretty cool for knowing the French name for these cards though!

Plus, the guidebook is a huge help for understanding the card’s meaning. I love it so much!! I think it’s one of the best guidebooks I’ve ever seen. It’s large, easy to read, and very colorful. DuBarry offers a complete guide to working with the deck, including tips for getting to know the deck, shuffling, and doing readings. What I liked most though is the suggestions for how to use the deck aside from just doing readings, which included things such as candle magic and shadow work. There’s also plenty of spreads to use with each card position thoroughly detailed.

The cards’ messages are all very meaningful. DeBarry clearly conveys each card’s essence through their interpretation. For every card there are keywords and meanings for the card upright and reversed, plus the best thing about this guidebook, which is the answer for yes/no questions.

HALLELUJAH! This yes or no meaning guide has been so incredibly useful. You often hear the advice to shy away from yes/no tarot questions, but so often I just want some quick insight about if I should do something or not, and this guidebook is perfect for those questions!! I so very much appreciate this being shared.

Moving through each definition, DeBarry strips away traditional meanings of each card, so that readers can see the card’s energy through the lens of the Divine Feminine. I especially loved the card and message for The Hanged Woman, traditionally The Hanged Man, which reads:

“Take some time out, as this will give you the space you need to pause for a moment and analyze what may need to be released for the sake of growth. The Hanged Women can also represent a person who looks at life in her own way, not allowing herself to be influenced by the actions or opinions of other people.”2

I’ve been reading tarot for over a deck, but this was the first time I identified personally with the card. Why had I never thought to view it as The Hanged Women? It’s like this simple shift of making it so I felt seen within the card completely changed the way I identified with it.

The Sacred Sisterhood Tarot has become my go-to for both quick questions and more reflective readings. Reaching out for the deck has started to feel like calling up my bestie to talk about life. There’s a gentleness to the deck, though it has consistently given me the honest advice I needed to hear in the moment. I trust it because I feel it has my best intentions at heart.

Plus, reading or meditating with this deck taps me into an empowered sisterhood solidarity, and I love envisioning other women also using it, pooling our collective Divine Feminine wisdom for healing, divination, and spiritual growth.  I highly recommend this deck for beginners, as it is perfect for getting to know the cards (with maybe the exception of the French! Lol), as well as intermediate to expert readers that are looking for a new way to explore the energy of tarot.

Yemaya, by Raven Morgaine

Yemaya: Orisha, Goddess, and Queen of the Sea, by Raven Morgaine
Weiser Books, 1578637430, 208 pages, September 2021

Back in May, sitting atop a small mountain in Joshua Tree National Park and meditating as the sun rose at dawn, the word “Yemaya” came through the silence. Instantly, I felt a sense of peace rush through me. I knew Yemaya was a great ocean goddess, but that was my extent of knowledge about her. When I returned home after this experience, I followed an intuitive nudge to bring some cowry shells down to the ocean and honor Yemaya, thanking her for the beauty of the ocean that I enjoy and the calmness that it brings me.

While I felt a call to continue developing this relationship and explore this quiet prompting from either my intuition or the Universe (not sure!), my summer travels took me away from my home on the California coast and into the canyons of Utah, woods of the Sequoia trees, and cities of the east coast from Philadelphia, PA to Providence, RI. Within my heart though, I kept remembering Yemaya and doing my best to connect with her energy wherever I went.

Now that I’m settled into my daily routine again, back to combing the beaches for seashells and spending my weekends reading on the beach, I felt ready to explore this budding relationship a bit more. However, I will admit I didn’t know exactly where to get started. The Orishas have always felt unreachable for me, a white American woman with European ancestry, due to their African heritage. I am well aware of the training and dedication that goes into becoming a devotee of the Orishas, and I also know how inaccessible these traditions can be to outsiders.

Therefore, you can only imagine my joy in discovering the recently published book Yemaya: Orisha, Goddess, and Queen of the Sea by Raven Morgaine. It was all I’ve been searching for and more!

Morgaine is a spiritual artist who has dedicated his life to Yemaya. He practices Candomble, New Orleans Voodoo, Santeria, and witchcraft. He also owns his own shop, Familiar Spirits, in Coventry, Rhode Island. Most of all, he’s an incredible storyteller that brought all facets of Yemaya to life in this wonderfully written book. His inclusion of practical wisdom, anecdotes, recipes, recipes for making oils and candles, along with plenty of Orisha stories made my connection to Yemaya so much more tangible and alive.

In fact, there were times reading this book when I would put it down and have my thoughts be washed away in feelings of love, tenderness, and security. It felt as though I was coming home to a mother who wanted nothing more than to make me feel loved, nurtured, and supported. While I am only in the beginning phases of building my altar and figuring out what this relationship is going to look like in my life, Yemaya assured me this pathway is open to all and that I will find my way.

Filled with his own written prayers, blessings, and spells, this entire book is imbued with Morgaine’s energy in the best way possible. His love and reverence for Yemaya streams through every word written, from warning those seeking to develop a relationship with Yemaya about what she does not like (never put metal on her altar or use it as a ritual tool, also she’s not a dog person!) to all the ways one can win her favor (beautiful combs, pearls, mirrors, white roses). Morgaine does not cut a single corner in laying out the foundation for establishing a relationship with Yemaya, and he happily delves into stories to illuminate the meaning behind why the practices are done the way they’ve always been done.

I truly loved learning more about many Orishas, from Yemaya’s younger sister Oshun to Shango and Eleggua. Morgaine’s writing was one of the most inviting introductions to the Orishas I’ve ever come across, and for the first time, I felt welcomed to partake in and honor these gods and goddesses.

Though, I will also admit, Morgaine’s solemn warning of what is involved in creating and maintaining a relationship with Yemaya is both awe-inspiring and a bit nerve-wracking all in one. More than anything, he conveys that she is not a goddess to call upon on a whim or to instantly demand quick results from. She is royalty, and thus she wants to be treated with respect, care, and devotion. She enjoys her lavish praise and will actively pursue what she wants, letting the practitioner know what does and does not please her.

The experiences shared by Morgaine of working with Yemaya for over 35 years made me realize just how misconstrued my previous assumptions of this great ocean goddess had been. I particularly enjoyed how he went through all the different facets of Yemaya, naming each one and sharing a bit of background information related to that incarnation of her, so that a more well-rounded picture of her was painted.

Morgaine openly shares trials from his own life, from despair at the end of an abusive relationship to being evicted at a very sensitive time in his life following his brother’s passing, to show readers Yemaya’s ever-present compassion for her children. Likewise, he also recounts times where she graced him with her presences, highlighting that Orisha gods and goddesses are more than just abstract energies; they are dedicated protectors, guardians, and way-showers of the natural world and humanity.

What has me most inspired is the descriptions of how to build an altar. I am looking forward to creating the time and space to do this soon. I knew I had been collecting seashells, sand dollars, and mermaid figurines for something! And thanks to the wisdom Morgaine has imparted in Yemaya, I also plan on creating cleansing and protecting my house as well.

Once again, I must impart how thorough Morgaine is in his details of doing these things. He even describes how it’s good to have an altar with drawers to store sacred objects, where to find affordable old furniture, and how to cleanse the furniture. At other times, Morgaine reminds the reader to use a dust mask or that a certain spell might smell weird, but that’s okay. His conversational writing style makes it feel like I am directly receiving this valuable information from a beloved teacher, mentor, and friend.

Somehow, Morgaine finds the perfect mixture of lightheartedness and seriousness to impart these lessons with care and consideration both of Yemaya and the well-being of the practitioner. He very much wants to ensure Yemaya is honored in a way that is pleasing to her, and he also wants to make sure practitioners don’t make foolish mistakes that can have detrimental impacts. Truthfully, he’s the perfect mediator between both, an ambassador if you will, in establishing this relationship.

And what’s so special about Morgaine’s perspective in Yemaya is that it’s inclusive. For him, having a relationship with Yemaya is not limited by one’s race, gender, sexual orientation, or cultural background. He draws parallels between Mother Mary and Isis with Yemaya, as well as acknowledging that many pagans choose to work with deities outside of their own culture’s pantheon. There’s a lovely section on how different aspects of Yemaya are protectors of people of all gender and sexual orientations — Yemaya is mother to us all.

Oh, I could keep raving about this book forever! All in all, Yemaya is a wonderful book to begin a relationship with the great mother ocean goddess. Morgaine teaches the reader how to cultivate a spiritual practice dedicated to Yemaya through telling her stories with the Orishas, sharing her many aspects of self through reincarnation, what offerings she loves and what things she dislikes, and how to establish a relationship nearby or far from the ocean. The anecdotes, recipes, magical associations, and practical wisdom from Morgaine are enough to get someone started on this path for at least a few years!

The Divine Feminine Tao Te Ching, by Rosemarie Anderson

The Divine Feminine Tao Te Ching: A New Translation and Commentary, by Rosemarie Anderson, Ph.D.
Inner Traditions, 1644112469, 160 pages, April 2021

Rosemarie Anderson, Ph.D., has many accomplishments – she is professor emerita of psychology at Sofia University, an Episcopal priest, an author of several books, and the recipient of the Abraham Maslow Heritage Award. She has traveled widely through Asia, and she has decades of experience with the Chinese language and the Tao Te Ching – all of which more than qualify her to author The Divine Feminine Tao Te Ching.

However, the qualification that touched me the most was declared in the very first sentence written in the book, in the acknowledgments section: “Translating the Tao Te Ching has been a work of love.”1 The love that this author has for the Tao Te Ching, and for the language in which it was written, informs her entire translation.

Anderson begins with a few short pages explaining her personal story of moving to Asia as a young woman and how she very quickly learned, and fell in love with, the Chinese language. She explains her love for the elegance of the calligraphic form and the etymology of the characters, along with the reverence the Chinese people seemed to have for them. 

In exploring and observing the Chinese way of life during her time in Asia she recognized that she was beginning to learn a concept the Chinese call “wei wu wei, which means to ‘act without acting’ or ‘know without knowing’.”2

This concept of wei wu wei, she explains, is essential to understanding the Tao Te Ching, requiring one to slow down, to read with patience, to allow the poems to enter one’s knowing almost of their own accord.

Anderson originally decided to translate the Tao for her own benefit and delight, using her basic knowledge of Chinese supplemented by scholarly books that would teach her any characters she did not recognize. She began this process expecting that she might discover something new in the Tao Te Ching along with some new discoveries about herself. The thing she did not expect was to discover that the Tao was profoundly feminine – full of self-descriptive words such as “mother”, “virgin”, and “womb of creation” – all intrinsically feminine ideas! 

In fact, the descriptor of Anderson’s translation in the title as “divine feminine” is what drew me as a reader to this version. And it seems so obvious upon reading these ideas that the Tao would be referred to as “She” in most if not all places where pronouns are used, but historically that has not been the case. “Only in a rare poem do a few translators refer to the Tao as “She” when the reference to “mother” or “womb” is blatant.”3

Something I found profoundly interesting was that the author’s experience of the wei wu wei method of translation is that it was “rarely mental but typically took the form of bodily impressions.”4

This idea of allowing input (in this case the poems of the Tao Te Ching) to reverberate in the body instead of automatically depending on the mind to figure everything out seems to be something worth exploring in earnest. 

The next idea to help us ingest the poems (and to enter into wei wu wei) is to read the poems aloud, or to sing them – even perhaps to a favorite tune, along with a suggestion to read one poem per day and to truly commit to listening and hearing what the Tao has to offer. 

I particularly liked this specific instruction:

“Sing out loud and sing long. This is hermeneutics in action. The term hermeneutics comes from the Greek god Hermes, the great communicator who brought the gods’ messages down to humans. In singing the Tao Te Ching, communicating with the Heavens and back to planet Earth is precisely what you are doing. Do it. Improvise on the text as an ancient storyteller might. Begin your own legend – your own pathway to the Heavens and back again.”5

This instruction seems like the perfect way to begin or expand one’s exploration of the Tao Te Ching, especially The Divine Feminine Tao Te Ching – unhurried, embodied, and without any specific expectation other than “communicating with the Heavens and back to planet Earth.” For me, as a beginner, this encouraged me to not overthink or overdo, but to just sing.

So far, one of my favorite poems in Anderson’s translation is poem 34, which I place here for your enjoyment:

-34-
The Tao flows everywhere!
She stretches to the left and to the right
All things rely on Her for life
She never turns away
She accomplishes Her work
And makes no claims
She is free of desires
We call Her small
All things return to Her
Yet she never controls
We call Her great
In not striving to be great
The wise accomplish great things

This selection seems to align well with the author’s instructions and contemplations of wei wu wei, and this particular passages encourage me in the idea of “accomplishing great things by not striving to be great”6 and to “grasp the Great Mirror”7 of the Divine Feminine Tao Te Ching.

The poems are presented in a beautiful, flowing form, the typography spacious. And the book wraps up nicely with Notes on the translation and calligraphy, as well as an annotated bibliography. 

I recommend this little gem of a book to anyone wanting to study the Tao Te Ching – especially to consider it in the context of a gentle, non-striving practice.

The Mystery Tradition of Miraculous Conception, by Marguerite Mary Rigoglioso

The Mystery Tradition of Miraculous Conception: Mary and the Lineage of Virgin Births, by M​​arguerite Mary Rigoglioso
Bear & Company, 1591434130, 192 pages, April 2021

Every year on Christmas Eve, it always strikes me as odd that there is not more focus on Mary in the story of Jesus’s birth: a devout virgin, pregnant with the child of God, relying on faith alone amid adversity and uncertainty, in labor delivering Christ to the physical realm. Clearly, Mary had to be a pretty incredible woman to be picked for this divine conception, yet her story always seems glossed over in religious text. While scholars debate even the most minimal nuisance of Biblical text, many remain mysteriously mute on the subject of a virgin birth.

The more I learned about the divine feminine, ancient priestesses, and sacred sexuality, the more I became convinced there had to be something about Mary which made her able to fulfill such an extraordinary task, but I never could find any validation for this intuition. Finally, many of my questions have been answered by Marguerite Mary Rigoglioso in The Mystery Tradition of Miraculous Conception: Mary and the Lineage of Virgin Births, which hands-down has been one of the most life-changing books I’ve ever read.

The premise of The Mystery Tradition of Miraculous Conception is based on the Infancy Gospel of James (Protoevangelium of James) that dates back to the 2nd-century. It was never canonized, and in fact it was condemned by Pope Innocent I in 405. Rigoglioso chose to use the version of the gospel, which she refers to as the Birth of Mary, as translated by Ronald Hock. And let me tell you, this is one juicy gospel!

The author of the text claims to be James, Joseph’s son from his first (and only) wife. Described in the Infancy Gospel of James are Mary’s upbringing, her publicly acknowledged spiritual authority, her relationship to Joseph, her experience of pregnancy, her journey to Bethlehem, and finally the birth of Jesus and the events immediately following.

Piece by piece, Rigoglioso deciphers the text for the reader with the belief that certain parts of the text needed to be cryptic in order to keep the truth concealed. Based on her research, lineages of divine priestesses had been trained to conceive partheogentically, which is asexual reproduction where the egg turns into an embryo without the fertilization of sperm. According to Rigoglioso, Mary was impregnated by Logos, or “through some kind of unification with the divine creative sound, the divine order, the wisdom essence of the universe.”1

Mary’s unusual childhood prepared her to serve as a divine birth priestess, and she showed advanced spiritual mastery at an early age. She was prepared for this sacred duty from the time of her own parthenogenetic birth by her mother Anne, who was also a skilled divine birth priestess. Some of the things done to ready Mary for divine birth were imbibing consciousness-altering substances, eating a specific diet, and learning special songs and dances.

At the appropriate age, Mary is taken to the temple to be raised. She remains there until it is time for her to undertake her duty as divine birth priestess and is given to Joseph, who was chosen to protect her. Contrary to popular belief, Joseph and Mary never married, and from the text, he was rather resistant to caring for her at first. It is clear the conception, energetically initiated by Mary, was not at all aided by Joseph, who in fact didn’t believe at first she had conceived and remained a virgin.

Despite the miraculous nature of Mary’s feat, the Infancy Gospel of James also documents the trials she was put through by her own religious community to ensure she was telling the truth. This text reveals the distrust and suspicion surrounding the miraculous feat of a virgin birth and demonstrates the need for Mary to be concealed from the public as her pregnancy progresses.

Ultimately, Mary does give birth to Jesus, once again on her own in solitude. Joseph and the midwife he found return to find the baby has been born. The birth did not require the assistance of a midwife, which is considered another miraculous feat. The divine avatar, Jesus Christ, has been brought into existence.

After this brief synopsis of the Infancy Gospel of James, you might be doubting the veracity or questioning all that you’ve been taught. For this reason, I think it’s important to acknowledge Rigoglioso’s impressive career to highlight the background for this book. First and foremost, Rigoglioso is a distinguished expert on the subject of virgin births, previously authoring Virgin Mother Goddesses of Antiquity and The Cult of Divine Birth in Ancient Greece. She holds a Ph.D. in humanities and a M.A. in philosophy and religion from California Institute of Integral Studies, along with an B.A. in psychology from Vassar College.

Her scholarship is focused on ancient Mediterranean mystery traditions, bringing to light suppressed histories of holy women. Rigoglioso also teaches workshops, courses, and mentors people to assist them reclaiming the priestess path through offerings such as Priestess of the Dove Oracle Training and the Holy Womb Chakra teachings. She has many free spiritual resources on her website SevenSistersMysterySchool.com, which was very fun to peruse.

Needless to say, the content in the book is well-sourced and filled with references to ancient texts. Yes, Rigoglioso does interpret the Gospel of the Stars in her own way, but given her academic training and spiritual knowledge, I find the information credible. It takes someone with insight into ancient culture, Biblical history, and soulful wisdom to interpret the text as Rigoglioso has done.

Just reading the Infancy Gospel of James was an eye-opening experience, as I’ve done much studying of the suppression of Mary Magdalene in the Church’s history, but had never thought much about the Virgin Mary. I’m actually curious to learn more about their relationship, as it seems that Mary Magdalene is always portrayed as a sacred sexual priestess, which Rigoglioso very thoroughly distinguishes from the divine birth priestesses, who remained virgins their whole lives.

This especially piques my interest because Rigoglioso describes Mary’s parthenogenetic conception as this lineage was actively being dismantled by patriarchal forces. It makes me wonder, given the potency of the divine birth priestess, if Jesus would have been in a physical relationship with Mary Magdalene.

Another thing that really struck me as fascinating was Rigoglioso’s suggestion that the three wisemen actually came to see Mary, the most holy one who had accomplished this miraculous feat. Her interpretation of the three gifts they brought (gold, frankincense, and myrrh) makes much more sense as offerings for her as currency for financial support (gold), sacred temple herbs for her to burn in holy places and claim her spiritual authority (frankincense), and an embalming oil (myrrh) for when she needs to anoint Jesus’s body at his death.

That last bit might have you a bit confused: how would Mary have known about Jesus’s death at the time of his birth? The Infancy Gospel of James describes a prophecy Mary has right before giving birth, which Rigoglioso points out illuminates her spiritual mastery to hold the knowledge of cruelty the world will inflict on her son and remaining open to love nevertheless.

“It must be a disturbing reality for this young priestess to know that her child, no matter how holy, will be entering the world of matter and duality, and that all those associated with him will have to come to terms with that. In a sense, she is in this very moment, just before she is about to give birth, also able to foresee the circumstances of her son’s death, in which the duality around his teachings will be played out in a deeply painful way. Once again, we can really appreciate Mary as a human woman who will have to grapple with maintaining the high vibration of love amidst agony and fear as the events of her son’s life unfold.”2 

Once again, Rigoglioso demonstrates that Mary was not a naive young woman, ignorant to the spiritual mastery of her son. Rather, it was through her training and active agency that Jesus, the son of the God, also considered a divine avatar by some, was able to physically manifest in this plane of existence. Her role as a most holy divine birth priestess is what allowed for a being of elevated consciousness to be conceived to elevate all of humanity.

Simply sitting with this truth changes everything for me. The information Rigoglioso has shared is so deeply empowering for me on a personal level, and I believe on a collective level too as more people awaken to the spiritual abilities of the divine feminine. For too long, women have been stripped of their spiritual authority, oppressed by patriarchal values, and denied the right to know the full potency of their potential abilities.

More than anything, I hope the information in The Mystery Traditions of Miraculous Conception becomes more wide-spread. I’ve been actively sharing what I learned from reading it with friends and family, initiating discussions about the topic of a virgin birth and Mary’s spiritual lineage. This is a must-read for anyone interested in the divine feminine, especially within Christianity. Rigoglioso has packed so much information into this text that I know I’ll be reading it again and again. I love that it’s filled with references and sources to assist the reader in doing their own investigation. All in all, this book is the major missing piece to the history of Christianity that is sure to spark meaningful revelation in all readers.