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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,”1 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.2 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.3

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.”4

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,”5 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.”6

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,”7 and “his world is the world which lies in the tangled roots of the great tree, the world of darkness and the dead.”8 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,”9 Johnson says.

Although the Christians associated Velnias with the Devil, his role in Baltic mythology was far more complex. “Velnias is a world maker,”10 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.”11 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.12 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.”13

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”14 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.

Pagan Portals – Artemis, by Irisanya Moon

Pagan Portals – Artemis: Goddess of the Wild Hunt & Sovereign Heart, by Irisanya Moon
Moon Books, 1803413212, 112 pages, March 2024

I have been lacking a clear direction lately. Seeking clarity, I did a meditation for guidance, during which I felt a call to get to know the goddess Artemis. Intrigued by her lore and the promise of empowerment she symbolizes, I turned to Pagan Portals – Artemis: Goddess of the Wild Hunt & Sovereign Heart by Irisanya Moon in hopes of learning more about how to connect with Artemis in order to discern where to point my own bow and arrow. This book promised not just background knowledge, but an introduction to a path that could potentially align me with the strength and independence epitomized by Artemis herself.

“I believe Artemis is being called into these times, like a friend and trusted ally. She can call us back to the wild hunt and claim our sovereignty (the ability to self-govern and be self-possessed). Artemis is not one of just play and delight, though She is that too, She is a being of action and alignment. She knows Her values and acts on them.”1

Moon is a seasoned Pagan Portals author whose previous titles covered Aphrodite, Iris, The Norns, Gaia, and the Reclaiming witchcraft tradition. In this book, she turns her attention towards the goddess Artemis, teaching readers Her family lineage, stories, myths, symbols, and offerings, as well as guidance on how to create and sustain a relationship with Her.

What I appreciate about Moon’s approach to Artemis is that she leaves a lot of room open for readers to cultivate their own relationship. She does not present herself as the end-all-be-all authority on Her; rather she comes across as someone who sincerely wishes to share what she has learned through her own journey alongside historical sources to reveal the many facets of this goddess. She shares references, quotes other sources, and provides a detailed bibliography at the end for readers to use as a springboard for their own research.

What Moon does do that aids readers, especially those new to working with Artemis, is call upon her experience as a witch, priestess, and teacher to guide readers in opening the pathway to cultivate a relationship with Artemis and embark on a journey of self-empowerment along the way. For instance, Moon begins the book by assuring readers there’s no right or wrong way to proceed, and that the most important thing is to cultivate self-trust. She writes:

“When you trust yourself, you build a relationship that can face all that the wild has to teach you. There is no time in the hunt to go back and forth about every decision. Claim yourself as the wise one you need when it is time to aim.”2

This was just the advice I needed to hear to get me in the right frame of mind to more deeply connect with Artemis, as well as understand on a more personal level what I had been lacking recently–determination, focus, and confidence in my vision. Moon then offers a meditation to meet Artemis in the forest to begin the journey. This is the first of many “magickal practices” that are offered at the end of each chapter for the readers to perform.

Moon’s coverage of Artemis’s birth and family helped me to situate her within my knowledge of Greek mythology. It also introduced me to new goddesses, such as Diktyanna and Eileithya, who Artemis has been linked with at times. Reading direct translation of her mythology (Hymn 3 to Artemis by Callimachus) gave me insight into her personality as someone who knows what they want from life and has the courage to ask for it directly, once again a trait that could use some cultivation in myself.

The many ways Aretmis shows up are described by Moon–nature, the moon, protection, hunting and wild beasts, maidens, sacrifice, and Amazons–painted a well-round picture. Artemis is simultaneously a provider of life and death, birthing and killing, healing and sacrificing all simultaneously. The mythological stories of Artemis further illuminate the wrath of her punishment when transgressed alongside the blessings bestowed to those devoted to her.

Chapters covering Artemis’s symbols and offerings, devotional practices, and cultivating a relationship with the wild and Artemis are perfect for beginners to become acquainted. Moon encourages readers to reflect on what they can give to Artemis beyond the traditional offerings too, suggesting readers provide service and action towards what is important to Her (nature, protecting women) to facilitate a relationship. As Goddess of the Hunt, action is important to building the trust of Artemis for those who wish to be devoted to Her for any length of time.

The chapter on devotional practices goes into detail about cults of Artemis and festivals held in Her honor. Moon also offers chants and epithets too. I particularly liked the magickal practice for this chapter where Moon leads readers through envisioning Artemis in the hunt and then moving their own bodies in the same way, infusing the wild energy in one’s own limbs.

“She knows what it takes to come back into your being. To come back to the wild from which you have been born and created and made. To come back to the sacred hunt that needs you and knows you.”3

For those ready to formalize their relationship with Artemis, Moon shares a full dedication ritual. Meanwhile, she also gives plenty of practical advice for working with a deity, Artemis in particular, for those who are new to it in their spiritual practice. Moon explains how having patience, sitting with one’s fears, and embracing the unknown, are important for readers as they cultivate their connection to Artemis. Once again, Moon’s comforting wisdom comes across as caring and friendly, lacking any hint of pretension or judgment. It’s clear Moon’s aim is to guide readers towards trusting their own instincts as a pathway to better relate to Artemis.

Overall, Pagan Portals – Artemis: Goddess of the Wild Hunt & Sovereign Heart takes readers on  a journey toward fostering a spiritual connection with the goddess Artemis by traversing ancient myths, embracing the wilderness within and without, and seeking the empowerment that comes from aligning with her fierce independence and nurturing care. Moon guides readers to not only discover Artemis in the world around us but also find pieces of Her within themselves too, recognizing our strength, our capacity for growth, and our intrinsic value as protectors of the natural world and each other.

Readers who are ready to step into the role of the hunter, listen to the wisdom of the forest, attune to the cyclic rhythm of the moon, and turn their hearts to the wild will highly enjoy getting to know the untamed spirit of Artemis through Moon’s thoughtful writing. Since finishing this book, I’ve noticed my self-trust has grown, and I am feeling more confident stating my own needs. I do feel like Artemis’s energy comes through quite well in this book, and I hope other readers find it as empowering too! In Artemis, we find not just a deity to admire, but a reflection of our deepest, most powerful selves, calling us to live with authenticity, courage, and compassion in every aspect of our lives.

Embody Your Inner Goddess, by Lauren Leduc

Embody Your Inner Goddess: A Guided Journey to Radical Wholeness, by Lauren Leduc
O-Books, 180341362X, 216 pages, December 2023

The changes in our society are opening new doorways to break the mold and discover what it truly means to be a woman without the societal condition hampering our spiritual pursuits. Increasingly, this is leading people to acknowledge the long overlooked feminine aspect of divinity. Embody Your Inner Goddess: A Guided Journey to Radical Wholeness by Lauren Leduc is a gateway for readers to deepen their spiritual connection to themselves by learning to listen to and honor the goddess within through exercises that awaken the sacred connection to the divine feminine.

It’s one thing to know the names of goddesses such as Aphrodite, Kali, Hecate, The Morrigan, and more, or perhaps going a step further, to have a relationship with a goddess, which is often part of one’s magical work. But what about your own sacred divinity? This is the real gold of this book–discovering more about what  makes your spirit unique. Leduc describes the Inner Goddess as “your personified personal connection to the sacred feminine… In her infinite power, wisdom, and compassion, she is YOUR higher self.”1

The core of the book rests on the premise that everyone possesses an inner goddess – an innate strength, wisdom, and compassion that guides us through life. The chapters are then structured to help readers peel back the layers of societal conditioning and self-doubt that often obscure this powerful inner truth. As you progress through the chapters, the journey becomes deeply personal. The exercises prompt introspection and self-exploration, allowing for a unique and intimate connection with one’s inner goddess. This process is aimed at fostering a sense of wholeness, where the reader learns to harmonize their mind, body, and spirit.

“Your life is a sacred journey and I invite you to leave no stone on this path unturned. I invite you to break past your walls that you have built to protect yourself and let the world see the beauty of your vulnerability. To let it be messy. To let it be ugly. To let it be human. Invite every part of you to the dance of life. Embrace all versions of you, past, present, and future, and bathe in her wisdom.”2

Leduc guides the readers through 49 days of inner transformation based on the chakra system. Starting with the root chakra and culminating with the crown chakra, each day there is a new affirmation related to the chakra of the week. As Leduc shares her own stories to paint a picture of what the meaning of the affirmation is intended to convey, she also talks directly to readers, inspiring them to take a look at their lives and own their power. She’ll often use the word “sister”, making it feel like she’s speaking right to you and there’s a special bond. I like her direct address, as it did wake me up to the words a bit more.

Following the insight related to the affirmation of the day, there is a reflection and an embodiment practice. The reflection is questions you can ask yourself for further clarity, while the embodiment practice is something actively do to integrate the energy. I really enjoy the reflection questions as I used them for my journal prompts to keep me on track for the full 49 days of reading this book. It’s easy to want to skip ahead to the next chapter, or likewise skip a day and tell myself I’ll catch up later. But I feel like making the commitment to move through it as intended, one day at a time, helped to create the space to honor their journey. The reading, reflection, and embodiment practice is quick enough to do daily and helps to attune me to my inner self each day. 

At the start of each week, when there is a new chakra introduced, Leduc goes into detail about the chakra and how it relates to the stage of the journey. While some might be skeptical of chakras, Leduc even addresses this in her introduction, I found the organization around the chakra system to be very impactful and intuitive. I have enjoyed focusing on balancing a chakra each week, and I notice a shift when it’s time to move onto the next chakra! I haven’t completed the full 49 days yet, but I’m making my way through quite content.

Currently, I am in Solar Plexus Chakra week. And more specifically, today, I am on “Day 17: I Am Strong AF”. Leduc describes her experience cultivating inner and outer strength, encouraging readers to overcome resistance by dedicating their inner strength to something bigger than themselves. She writes:

“Goddess, you, your life, your purpose are worth fighting for. By stepping up to life’s challenges, you are creating fertile soil to blossom and grow.”3

The reflection questions focused on what makes me feel strong vs. what makes me feel weak, as well as prompting reflection on resistances that I’ve overcome in the past that ultimately made me stronger. And the embodiment practice? PLANKS! Not my favorite, that’s for sure. 😝 But as I held the plank, I felt my core engaged and gained confidence in my own strength. This one is actually a five-day practice, so I guess I’ll be working on these planks in addition to the other embodiment practices for the rest of the week!

Overall, Embody Your Inner Goddess is a transformative book that beckons readers on a profound journey of self-discovery and empowerment. Crafted with the intention of guiding individuals towards embracing their fullest potential, this book is not just a read; it’s an experience. Through a carefully curated blend of personal anecdotes and practical exercises, Leduc opens readers with the divine feminine energy within, encouraging a radical acceptance and celebration of self. Readers will find this book a great companion on their path to self-realization and empowerment; it’s perfect for those ready to deepen their spiritual connection with themselves and live a life of authenticity and purpose.

The Dragon Riders Oracle, by Arana Fader

The Dragon Riders Oracle, by Christine Arana Fader and illustrated by Elena Dudina
Earthdancer Books, 1644119994, 112 pages, 43 cards, February 2024

Dragons are absolutely majestic, and quite frankly, they can also be intimidating! Though I’ve desired to connect more with dragon energy, I was struggling to find a book or deck that made the grandiosity feel accessible. The Dragon Riders Oracle by Christine Arana Fader and illustrated by Elena Dudina was the “in” that I needed to discover my own dragon and better understand their true nature.

It was the way Fader provides a creation story for the origins of dragons and how they came to be companions to other energetic beings. According to what her own dragon has shared, Fader explains dragons were “the first entities in our universe”1, who were entrusted by Source to be universal protectors. I now see dragons as guardians of the galaxy, an energy that vibrates with high love for the multitude of energetic beings in the universe.

Those energetic beings are the dragon riders–gods, goddesses, elves, angels, and ascended masters–who are coupled with their dragon on the cards in this deck. The dragon riders Fader has depicted come from a range of spiritual traditions (Christianity, Celtic, Greek and Roman Pantheon, Buddhism, Confucianism, and more) giving a wide range of insights. Many of the dragon riders will be familiar names, though there were some energetic beings I was happy to discover and learn more about, while the dragons’ names will most likely be new to readers.

Fader teaches how the true name of each dragon cannot be uttered by humans, as it is a matrix of “pure power and comprises numbers, letters, sounds, symbols, and colors.”2 Reading that sentence, I conjure a mental image of what a potential matrix might appear as, but as Fader notes, it’s hardly translatable to paper! For this reason, she has chosen names that still resonate with the dragon’s energy and have meaning in regard to “the element of the dragon’s being.”3

Another thing Fader notes in the introduction, which I really appreciated, was how the energetic beings portrayed do not actually have human forms; the way they are depicted by Dudina is intended to help readers form a relationship with their energy by giving them a relatable appearance. Fader writes, “All the beings portrayed in the cards have a body, a face, eyes, and distinct colors, but it is important to remember they are not the “truth”, they are only representations to help you make contact.”4 I value this reminder, as it helped me to attune myself to the spiritual dimensions of the cards, while also providing a form I could visualize connecting with while meditating.

The cards themselves are very sturdy with a sleek feel that makes them easy to shuffle. Dudina has done an absolutely incredible job illustrating the multitude of dragon riders and dragons. There are so many types of dragons in all the colors of the rainbow, yet for each one, Dudina has captured their loving spirit in the way she’s drawn the eyes. I feel the regal presence of the dragons shining through, portraying a relationship of mutual love, trust, and devotion with the companion dragon rider. As for the dragon riders, they all look immaculately handsome and beautiful.

Each card is numbered and has the name of the dragon rider and companion dragon along with a short message at the bottom. The number makes it easy to look up the corresponding entry in the guidebook for further insight. In the guidebook entry, Fader provides background on the dragon rider and then a message from both the dragon rider and the dragon. The messages are in direct quotes, indicating it was spoken directly to Fader by the energetic being to be shared with readers.

Here’s an example of the messages from the card Kuan Yin & Susuri. The first quote is a snippet of the message from Kuan Yin, while the second is part of the message from Kuan Yin’s female dragon companion Susuri.

“Follow my teachings and learn to love without expecting anything in return. In doing so, you will discover unimaginable inner riches.”5

“Let me penetrate the very depths of your being; let me expand you from within and break your inner chains. To do this, hold the card over your heart and feel how with my resonance I am at work within you.”6

The insights are not divinatory–they are more like advice directly from these higher spiritual beings for us. In the introduction, Fader even encourages readers to not ask a question when shuffling and pulling a card, rather she instructs to connect to one’s heart and breath, concentrating on being in the moment without overthinking. This is the way to establish the connection with dragons, and the message that is meant for you will come through. There is a specific energetic being that wants to guide you, one whose teachings are most relevant to you at the time of drawing your card.

One fun and unexpected aspect of this deck is the addition of two Joker cards (number 7 and 13) with cats on them. These cards represent “a leap in consciousness”7 and that new opportunities for spiritual growth are on their way. In order to ensure readers are prepared for this new energy headed their direction, the Joker cards offer rituals to perform to find one’s center, becoming the bridge between the spiritual and material world. If readers don’t feel called to work with the Joker cards, they can of course just not include them in their deck.

Overall, The Dragon Riders Oracle is a wonderful way to gain the spiritual wisdom of high vibrational energetic beings of love. From gods and goddesses to angels and ascended masters, this deck opens the door to protection, guidance, and support from the realms above. Most especially, the genuine and powerful essence of the dragons shines through to ensure readers are aligned with their spiritual path. The primal, mystical powers of the dragons is sure to create a fulfilling change in readers’ lives.

Fortuna, by Nigel Pennick

Fortuna: The Sacred & Profane Faces of Luck, by Nigel Pennick
Destiny Books, 1644116472, 144 pages, January 2024

Luck is a mysterious and capricious supernatural force thought to bring about success or failure by apparently random chance. While belief in luck may be relegated to gamblers and the superstitious, the concept is deeply embedded in Western culture. Luck was personified by the ancient Greeks as Tyche, and the ancient Romans knew her as Fortuna, the fickle and fearsome goddess of fortune and fate. “O Fortuna,” a Latin poem derived from the medieval manuscript Carmina Burana, which laments the vicissitudes of fate, was set to music by German composer Carl Orff in 1936, and the epic cantata has since appeared in several films, television shows, and commercials. Fortuna’s Wheel of Fortune appears in both the tarot and the syndicated game show of the same name, which holds the record as the longest-running game show in the United States.1

While Fortuna’s indiscriminate giving and taking is often perceived as mercurial and even cruel, her lighter and brighter side is known today as Lady Luck, and she is still alive and well in contemporary culture, from the four leaf clover marshmallows in Lucky Charms cereal to Felix Felicis, the alchemical Liquid Luck elixir Harry Potter downed in J.K. Rowling’s Harry Potter and the Half-Blood Prince. Luck can simply mean being in the right place at the right time. But beyond the superficial veneer of pop culture, who is she, really?

In Fortuna: The Sacred & Profane Faces of Luck, Nigel Pennick, the prolific author of over sixty books, including Elemental Magic (2020), Magic in the Landscape (2020), The Ancestral Power of Amulets, Talismans, and Mascots (2021), and Runes and Astrology (2023), explores the origins and evolution of the concept of luck, from divination to gambling. This slim volume is a quick read, with just a little over a hundred pages, but it is packed with fascinating insights.

Contemporary consciousness tends to rationalize changes in fortune as nothing more than random occurrences, but, as Pennick says in the Introduction, “in the ancient worldview nothing happens by chance but is the manifestation of an act of divine will.”2 Feeling subject to the whims of the gods, ancient people sought to discern the divine will by interpreting signs and omens, which led to the rise of divination with various systems, involving objects with numeric values, such as dice and cowrie shells.

In the absence of the concept of mathematical probability, everything was believed to have been preordained by the divine. The belief in predestination was ripe for abuse, as it could be used to validate the unjust actions of people in positions of authority. “Many religions view the Creator in the form of an angry Bronze Age law-making warlord who decides how the natural world must behave and who issues the laws that define those behaviors,”3 Pennick says. The real power behind the scenes, however, was the goddess of fortune and fate.

In Chapter 2, titled “Lady Luck and the Goddess Fortuna,” Pennick explores the history of the Roman goddess Fortuna’s worship. Today, we tend to simplify her as the personification of luck, chance, and good fortune, but Pennick does her honor by fleshing her out as a complex goddess associated with many facets of life. She had a plethora of epithets, such as Fortuna Plebis, “of the People,”4 for she determined the fates of individuals. Many epithets include types of people and social classes, such as Fortuna Muliebris (“Women”), Fortuna Patricia (“Noble”), and Fortuna Equestris (“Horseback Riding”), which brings to mind knights in shining armor astride dashing steeds. The one that struck me as the most interesting was Fortuna Aucupium, meaning “Bird of Prey.”5 Although she was sometimes depicted as blind, this avian title seems to imply keen powers of perception and a shrewd eye for swooping down and snatching good fortune at a crucial moment.

“In Rome, the emperor Trajan (98-117 CE) dedicated a major temple to each aspect of the goddess, and on every January 1, offerings were made at the temples to ensure good luck and success for the coming year,”6 Pennick says. Fortuna’s accoutrements included a cornucopia, or horn of plenty, aligning her with the goddess Abundantia, the Roman goddess of prosperity; a ship’s rudder, which signifies her steering the fates of all mortals; and the vertically spinning wheel of fortune. On occasion, Fortuna appeared with wings, like Nortia, the Etruscan goddess of fate.

There were oracular shrines devoted to Fortuna in ancient Rome, which were located at Antium and Praeneste, in the modern day city of Palestrina. I was most intrigued by the Praenestine oracle of Fortuna, which is believed to have operated underground in a cave called “Antro delle Sorti” in Italian, which means “the Cavern of the Fates.”7 The oracle was thought to have been founded by an Egyptian priestess of the goddess Isis, and incorporated the use of wooden dice inscribed with letters, which may have been derived from Etruscan divinatory practices, and Pennick believes this oracle might have influenced the development of runic divination.

“The cubes were thrown into a silver bowl and drawn out one by one to produce a sequence of letters that were taken as the first letters of words,” Pennick says. “Interpretative skill depended upon determining what the sequence of letters stood for with regard to the question asked or the person asking it.”8 The Praenestine oracle had a revival in nineteenth century France, “when it was claimed that Charles Le Clerc used the oracle to attain prophecies for Napoleon Bonaparte.”9

Pennick then explores the history of dice as a form of divination in ancient Europe, which were originally made from the knuckle bones of sheep. He writes about the practice of gambling in ancient Rome and presents a table depicting the names and measurements of Roman dice. Chapter 4 is devoted to dice divination, complete with a chart of the divinatory meanings of possible throws.

One of my favorite chapters is on “Divinatory Geomancy,” in which Pennick gives a concise explanation of how to perform a geomantic reading and presents different methods for generating geomantic figures. Geomancy, which means “earth divination,” is a binary method of generating four-lined figures using odd or even numbers that traditionally involves making marks in the earth, although modern practitioners of the art may choose to throw dice or coins. There are a total of sixteen possible geomantic figures, and each has a Latin name with an oracular meaning and an astrological association.10

“An East Anglian technique for generating odd and even sequences uses potatoes,”11 Pennick writes. Using root vegetables sounds like the perfect way to perform an earth divination! I personally use a simple homemade deck of geomancy cards I created with blank index cards, on which I drew the geomantic figures with markers, but I love the idea of using potatoes to generate geometric figures.

“Each potato is different, for each has an indeterminate number of eyes, the places from which new growth takes place,” Pennick says. “To generate a geomantic figure, one must take four potatoes at random and count the eyes on each one.”12 A full reading requires sixteen spuds, so this might be a fun method to try if you have a sack of potatoes handy. 

The latter half of the book explores how the sacred art of divination devolved into the profane practice of gambling and became associated with the Devil. “Perhaps the ancient Jewish prohibition of divination, which was taken up wholesale and unthinkingly into the Christian religion when Christianity split off from Judaism, accelerated the desacralization of divination into gambling,”13 Pennick says. He believes that “the association of cards with the Devil is likely to be a cultural leftover from the centuries of religious fulmination against games and the religiously motivated laws that prohibited all forms of play and gambling for so many centuries.”14

I was fascinated to learn that, in medieval England, “Christmas was deemed to be the only time that games were allowed, and playing at other times was forbidden by law.”15 Hearkening back to the ancient Roman festival of Saturnalia, “the connection of gambling with misrule is overt in writings about carnivals and mythical lands, such as the Land of Cokaygne.”16

Pennick also reveals how fortune-telling and luck-drawing magic have intersected with gambling superstitions and dice cheat rolls. “Ancient crooked dice” might have been used for gambling cheats, “but they may well have been used at oracular shrines to skew the readings of those who came to ask questions.”17 This may have been a matter of self-preservation, especially when the interpreters of omens “had to deal with ruthless tyrants and a wrong answer might mean torture and death.”18

The stakes are high in illegal gambling as well, and the sacred caves where the ancients once consulted Fortuna for spiritual guidance were traded in for the Underworld gambling dens of organized crime, which were crowded with the lost souls suffering from addiction to these illicit practices. Since such risky behavior is a flirtation with death, it’s no wonder that many gambling charms incorporate images of human skulls to represent luck in the face of adversity.

“When we dice with Death, we can be sure that Death has the dice in a special grip and throws all the shots, and the dice are probably loaded,”19 Pennick writes.

Pennick’s impeccable scholarship and concise historical survey of divination and gambling has transformed my perspective of Lady Fortuna and the relationship between her sacred and profane arts. Whether you are a practitioner of divination and magic or a gambler hoping to boost your luck, Fortuna: The Sacred & Profane Faces of Luck will inspire your practice and be a boon to your personal library. Besides, with St. Patrick’s Day being just around the corner, it’s a great read for the month of March. May the luck of the Irish be with you!

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.

2024 Moon Goddess Diary, by Nicci Garaicoa

2024 Moon Goddess Diary – Northern Hemisphere: A Year’s Journey of Love, Connection, and Support – a Journey Back to You, by Nicci Garaicoa and illustrated by Olivia Burki
Rockpool Publishing, 9781922579560, 160 pages, June 2023

Anything that promises to harness the energy of the moon is a natural fit for me, so this diary was a no-brainer! In her 2024 Moon Goddess Diary – Northern Hemisphere: A Year’s Journey of Love, Connection, and Support – a Journey Back to You, Nicci Garaicoa presents twelve goddesses to support women as you brave the new frontier of a new year.

 Garaicoa hails from Australia and is a medicine woman, energy healer, speaker, intuitive and author. She is known for her Full Moon Meditations, held on her beach in Australia for locals and broadcast for followers worldwide. Learn more about her at https://www.niccigaraicoa.com/. Illustrator Olivia Burki enjoys illustrate her pieces with both traditional artwork and digital media. Her art website is: https://www.iamfy.co/shop/olivia-burki.

On the cover of the diary, Garaicoa promises:

“A year’s journey of love, connection and support. A journey back to you.”1

This journal is a delight for the senses from the luscious dark teal cover with a mermaid holding the moon to the jewel tones of the moon goddesses featured for each month. Garaicoa opens the diary with a brief introduction and a few paragraphs that help you to use the diary in the most beneficial way. She includes a beautiful ritual to claim the diary as your very own. Next, she presents “My Goddess Self-Care Toolkit for Winter,”2 which includes color, sound, crystals, and plants, among other tools.  Writing in these few pages before the season begins helps you set intentions, call in support and plan for the three months to come.

I find it interesting that Garaicoa also suggests that you look through the three moon goddesses for the upcoming three months and select only one to be your primary support for the season. Yes, you will also work with the goddess for each month as you travel through the four weeks. However, the suggestion to select one of the goddesses for your primary guide each season is brilliant! This is a way to personalize the diary experience.

What follows next is beautiful goddess artwork for each month, as well as a description of the cultural background for each goddess, a mantra, a crystal and other ways to work with her. The diary provides a double-page spread for each week in the month. This allows ample room to journal, record a daily card or whatever your heart desires. Along the way, Garaicoa lists the New and Full Moons each month, so you can also do your intention setting and releasing rituals.

The pages for each month feature a beautiful pastel color that perfectly complements the color palette of the moon goddess for that month. Sprinkled throughout the diary are other pieces of art to accent the pages, such as fans, flowers, shells, or pottery.  Encouraging and inspirational bits of prose are also shown on select pages, as well as a “Ritual to Close Off the Year 2024”3 near the end of the diary.

Although I am familiar with four of the moon goddesses chosen for the diary, the other eight moon goddesses are new to me. It is so interesting that she features different countries and cultures for the moon goddesses so that learn more about customs and rituals for navigating the seasons. For winter, spring, summer and fall, she presents a unique toolkit for navigating the three months and this version was created specifically for the northern hemisphere. Since Garaicoa is based in Australia, this version is a wonderful way to honor those of us who live in another part of the world.

My favorite goddess is Coyolxauhqui. (pronounced Coy-yo-shar-ki) Perhaps because I live in Texas and have always been fascinated by anything from Mexico, I particularly resonate with this Aztec beauty. Garaicoa shares this information about the goddess for July:

“Coyolxauhqui’s medicine for you is the most incredible example of how to turn your greatest traumas, wounds, pain and the drama that can happen in your life into your greatest strength and power, as she does each night by beaming her light across the world and shining as brightly as the moon.”4

2024 Moon Goddess Diary would be great for any woman who wants to learn more about working with the signs and phases of the moon, as well as tracking her own energy throughout the year. Whether you are new to learning about the moon or have been living by the moon for several years, this diary is for you. The information on the goddesses adds a beautiful layer of support and the seasonal toolkits give you additional ideas for energetic healing and reinforcement throughout the year.

Garaicoa shares this last message on the back cover:

“Let 2024 be your year of change. This year, be guided, inspired, and supported by the 12 powerful goddesses in this full-color diary. Use their knowledge, bathe in their love, breathe in their radiance, and feel their power radiates through each page and into your life.”5

Horns of the Goddess, by Dolores Cannon

Horns of the Goddess, by Dolores Cannon
Ozark Mountain Publishing, 1956945210, 400 pages, March 2023

“At the beginning of time everybody was in tune with the mother Earth, for the souls had just begun their journey.  And they were but newly separated from her, and so they remembered how to be in harmony with her.   And they knew how to be in harmony with nature. And, so they observed the things they knew they needed to be observed in order to stay that way.1

Horns of the Goddess by Dolores Cannon is an interesting exploration of the concept of past lives, the use of past life regression hypnotherapy to gain access to the information of the past lives of clients, and the impact that information may carry within the greater scientific and spiritual communities of the present. The quote above was taken from a chapter taken from the transcription of a session of one of the three individuals who shared past lives during the time of the Druids and are the theme of focus for the title.

Cannon was a regressive hypnotherapist and psychic researcher who recorded the sessions of multiple clients and became one of the collectors of “lost” knowledge, much of which was verified by the findings of archeologists. This is an important factor of consideration as the reader moves through this title and recognizes the credibility of both technique and content Cannon brings to material that could be considered just another example of new age fluff. 

The content was compiled by her daughter, Nancy Vernon, and much of the information contained within was withheld in being made part of Dolores’ public research offerings because of the sensitive nature of the information shared by her subjects. Timing in the release of this information and its consideration as potential truths was very important to Cannon. Given the timing of Cannon’s passing while writing this book provided an opportunity for some of the more controversial information to be included.   

Horns of the Goddess is formatted into three sections with chapters of content within. Each chapter is structured as a question (from Cannon) with answer (from the individual’s past life self/ves) transcribed from the recording made during hypnosis. Dolores’ impressions and notes are interspersed throughout, giving additional insight and background to what the reader is taking in. 

The “Introduction: The Time Traveler” provides the reader with Cannon’s path that led her to the writings and research she committed herself to after her children were grown. She describes the refinements and adjustments she crafted to the techniques of hypnotherapy that allowed for a deeper level of communication between the client and past life memories and now are the choice of practice for past life regressionists. 

“Section 1: Life as a Druidess” begins the journey through timelines of Druidry and events leading up to the Inquisition. In “Chapter 1: The Druidress (Karen)” the reader is introduced to one of her subjects who offers insights throughout a good portion of the book through multiple past lives experienced.  She speaks of one of her subjects, Karen:

“During 1982 and 1983 I worked with Karen on a regular basis. I discovered the true meaning of time travel during my sessions with her. We eventually explored thirty different lifetimes, and the detailed information that poured out of her was phenomenal. She was able to so totally become the other personality that she supplied historical information as well as cultural and theological.2

“Section 2: Brenda’s Story as Astelle” is filled with some of the more controversial material and brings to light from the subject’s experiences the horrors of the Inquisition and the lengths taken by the church to tamp down the nature-based practices….

“In the beginning when she was describing the horrors of the Inquisition and the callousness of the Church, I told her in the session…… “They will hang me from the highest tree if I ….tell about the horrible things the church did in those days. They will never stand for hearing such things about their church fathers”…. There is too much explosive material contained within this story. It is probably the truth about the way the church really behaved, but I feel I must wait a while before I dare to write it.”3

The chapters contained within this section are the meat of the book and a wealth of information about how the “old ways”’ of nature based religious practices would have been carried out. Insights into the use of Pentagrams, signs, omens, communication with animals, the lore and legends of the magic of the Druids, and the inhabitants of greater earth such as the Fae, gnomes, giants, etc… are offered through the memories of Brenda/Astelle in her sessions with Dolores. Woven throughout these chapters are the specifics of how the church made use of these beliefs and the ultimate return of the Inquisition period. 

Rounding out the density of information in Section 2,  Dolores returns to her long time subject Karen and shares the impressions received as Karen travels through the subsequent time periods of her Druidic days and returns to past lives as a minstrel, a physician, a child who sees faeries and a Greek priestess. “Section 3: More Lives with Karen” provides the reader with ample opportunity to give consideration to the possibility of multiple lifetimes that are experienced by a singular consciousness/soul.   

In conclusion, I found Horns of the Goddess to be a fascinating and thought provoking read.  Regardless of your perspective on the veracity of past lives, reincarnation and the storehouse of the subconscious in maintaining information that there is no reasonable explanation for the individual to know, the content of this title is engaging and completely immersive in its reading. 

“Dolores opened our eyes to wondrous and mysterious worlds. She dared to go into the forbidden realms of what the mind contained. If it had not been for her insatiable appetite to want to know more and to ask the many, many questions we might never have known the lost knowledge she found with her sessions.”4

Pagan Portals: Demeter, by Robin Corak

Pagan Portals – Demeter, by Robin Corak
Moon Books, 1789047838, 128 pages, October 2022

At first glance, Pagan Portals – Demeter by Robin Corak seems like a straightforward book. The story of Demeter and her daughter, Persephone, is one that has been used to illustrate many variations of the mother-daughter dynamic in a variety of different contexts. Corak is taking that story and exploring various other themes that aren’t apparent at first glance.

A long-time practitioner of paganism, Corak is a member of the Sisterhood of Avalon where she currently serves as the Board Secretary and is the author of Pagan Portals – Persephone: Practicing the Art of Personal Power. Honestly, there’s no one more perfectly positioned to write the book on Demeter than Corak and her prose is both insightful and informative.

The book is sectioned off into specific areas that deal with Demeter’s background, specific rites and rituals, and other topics I didn’t expect to find. At the risk of outing myself as not being all-knowing about the goddesses and gods of the Greek pantheon, I had to look up two aspects of Demeter that I was not aware of that were referenced in this book: Demeter Chthonia: Grief and Loss and Demeter Chloe: Manifestation Magick. Blown away, completely and totally. Don’t get me wrong, I knew that Demeter was associated with grief (her daughter being taken away from her) and abundance (Goddess of the Harvest), I just didn’t know there were actual aspects devoted to these attributes. 

There’s so much information in this book and all of it is both relevant and timely. The astonishing realization that Demeter was still subject to patriarchy despite being a goddess was something I hadn’t considered. It was my understanding that Demeter’s power would ensure her personal agency. When Demeter is told by Helios that Hades abducted her daughter, Demeter’s opinions are not even considered as she is told that Hades would make a fine husband for her daughter. Because Demeter is dismissed, she then decides that nothing on Earth will grow until her daughter is returned to her. Her actions eventually see the return of Persephone to her, and it’s interesting to note that Demeter is the only goddess to make Zeus give in to her demands, and in a short amount of time. Underestimate an abundance Goddess at your peril!

A surprising aspect of this book is the focus on balance, something that most who identify as feminine struggle with due to the numerous stresses experienced through jobs, home, relationships, and other factors. Corak addresses this in the introduction, saying:

“Working with Demeter can facilitate a powerful journey of self-discovery resulting in a re-envisioning and reclaiming of our potential and our own lives. For those of us who may not have had a positive relationship with our own mothers, Demeter empowers us to access our own nurturing abilities so that we may provide ourselves with the quantity and quality of love that we feel we didn’t receive.”1

It took me a few days to process that, I will be honest. I do not have a good relationship with my mother and as she ages, I have had to come to terms with the very real fact that there will never be apologies or clarity around why certain events were allowed to happen. I found this book to be immensely helpful in navigating my personal grief around this, although I would be lying if I said I was able to completely resolve the anger. I took solace in a powerful sentence from Corak:

“The mother archetype is not just about loving and nurturing, it is also about protection and advocacy to ensure that that which has been given life will survive and thrive.”2

I sat with that for a moment, and realized that’s what I had been doing for myself by not engaging as deeply as I wanted to with my mother. I intuitively knew that this was something I could do to protect myself from additional harm, and this book opened my eyes to all that I have been doing for myself in this realm. 

There is so much healing in this book depending on what is required. For me, I chose to go through “Chapter 3 – Healing the Mother Wound”. Corak includes a definition of mother wound as “the loss or lack of mothering which can include abuse and neglect. Those who experience the mother wound don’t receive the love and attention they need as children and have mothers who seem to be distant and less attuned to their emotional needs.”3

This section in particular really hit me hard, as I thought I had dealt with my issues around this through extensive therapy. Clearly that was not the case, as I often found myself curled up in a ball with my cat gingerly offering me head butts and consoling licks. That is not an exaggeration, by the way. This book is excellent and devastating in a way I didn’t expect but am so glad I experienced. 

If any of this resonates with you, I would highly recommend picking up Pagan Portals – Demeter. If you have a therapist, I would also highly recommend enlisting their help for this journey because working with Demeter calls up all sorts of childhood trauma that needs to be brought out so that it can be healed.

One of the best parts of this whole process was learning that I could mother myself and did not need to rely on my emotionally unavailable mother to provide that. While seemingly heartbreaking, releasing yourself from unrealistic expectations of those who cannot possibly meet you where you need them to is freeing in a way that could potentially allow you to move on. Who wouldn’t want that?

Goddess Among Us, by Victoria Maxwell

Goddesses Among Us: Oracle Deck with 36 Full-Color Cards and 128-Page Guidebook, by Victoria Maxwell and illustrated by Ellie Grant
Rockpool Publishing, 1922579319, 128 pages, 36 cards, October 2022

A goddess oracle deck that represents a diversity of women? Yes, please! Goddesses Among Us by Victoria Maxwell and illustrated by Ellie Grant portrays timeless goddesses in modern fashion and updated to make  them accessible for readers to connect with here and now.

“The goddesses featured in this oracle are from various cultures, religious, and spiritual paths, but they are all aspects of one goddess: a primal, creative force of love that really has no words and no bounds.”1

Using this deck so far, I have loved Grant’s illustrative approach because when I flip over a card, I see women of all shapes, sizes, ethnicities, and cultural backgrounds staring back at me in a way I might see them out in public. In turn, this has opened me to remembering the divinity in women I see out and about and how the goddess is within us all always, even in the ordinary and mundane moments of life. There isn’t a one-size-fits all for the goddess, but rather many, many representations of her different attributes, reflected in a variety of looks, lessons, and energy.

For instance, the card portraying the ancient Greek goddess Artemis doesn’t show an ancient image of her clocked in a tunic, but features a tan, brown-haired woman in a wheelchair wearing an athleisure dress with her bow and arrow primed. Kali looks like a blue-haired badass sticking her tongue out wearing her crop-top and jacket with skulls all over it; Pachamama is portrayed as a down-to-earth indigenous activist in blue jeans with beautiful gold jewelry on; while Sulis Minerva has wavy, long auburn hair, braided around the crown, with a one-shouldered blue dress that shows off a solar tattoo on the uncovered arm.

It’s nice and easy to learn which goddess is on the card, as the number of the card and name of the goddess is featured in the upper lefthand corner. There’s a symbol encompassing the image of each goddess, adding to their sense of divinity and giving more insight into the unique power of the goddess. And then there are three key words surrounding the goddess on each card. I just love the font used for this deck! The beauty of the script adds to the flowing, intuitive energy of the deck. Plus, it’s a very colorful deck, making it perfect to use the cards on an altar.

My favorite card visually is The Black Madonna. The card features a voluptuous black woman with a serious look on her face, wearing a tan romper and black jacket with stars on it. She has big hoop earrings in the shape of stars, along with a necklace with an ankh and one with a coptic cross. She’s holding a red rose and the symbol around her head looks like a moon with stars on it too. The keywords are “Cosmic mother”, “The beginning”, and “The void”. It’s also my favorite number (18!) and was the first face of the goddess I met on my spiritual journey, making it feel very special and resonate to me.

In the guidebook, Maxwell provides thorough information on how to use the cards, including how to activate the deck, prepare for a reading, ask questions, and read reversals. She also depicts four different spreads that can be used: Divine feminine activation spread, Goddess guidance spread, Advice and action spread, and Priestess path of the goddess spread.

Then for every goddess card the guidebook features the image of the card, keywords, background information on the goddess (very helpful for when the goddess is new to you!), a general oracle message, extended card meanings, and bullet point lists of what to call on the goddess for and how to embody the goddess.

The extended card meanings provide a more specific oracle message in the areas of love, prosperity, purpose, healing, creativity, and magic. I absolutely loved the deeper insight into these specific areas, especially creativity and magic, which I often forget I can glean oracle advice about. These specific messages makes the deck feel a lot more fine-tuned for readings; I enjoy knowing I can turn to the deck with a very focused questioned in mind and get precise guidance rather than receive a general oracle message that I have to extrapolate the answer to my question by discerning how it’s message relates to what I asked.

I also really appreciate Maxwell sharing what we can call on each goddess for and how we can embody her energy in our lives. Two days in a row, when I was having self-doubts and lacking in self-love, I pulled the card Aphrodite. Some of the ways Maxwell encourages readers to embody this energy are “choosing luxury”, “seeing and owning your own beauty”, and “allowing yourself to experience and receive pleasure in all forms.”2 I realized I had been doing absolutely none of that and spent the whole week doing my best to bring in Aphrodite energy to my life: splurging on fancy organic chocolate, affirming my postpartum body, and feeling more free-flowing love in my relationships.

I also really resonated with Maxwell’s sentiment in her introduction that the goddess can be found anywhere:

“When I opened my heart to her, the goddess began to show me that she was everywhere. I found her in wicca and witchcraft, paganism, the New Age, the ascension path and yogic teachings. I even spent  some time seeking out the goddess in the church, finding her secret messages hidden away in Bible passages..”3

I think the way Maxwell so earnestly sought connection with the goddess in a myriad of spiritual paths is what makes this deck so especially diverse. Many other goddess oracle decks I’ve worked with usually don’t include Christian saints. And the choice of goddesses from all different pantheons make the reader excited for each pull, eager to see which goddess has some insight for them.

The combination of the vibrant colorful cards depicting the goddess as normal women and the potent messages of guidance has made Goddess Among Us a new favorite of mine. As someone who owns approximately four goddess oracle decks, I can say with confidence this one tops them all. For those looking to connect with the goddess in all her wonderful, varied forms while also getting meaningful insight into the questions pressing on their hearts, this is absolutely the deck for you!