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The John Dee Oracle, by John Matthews and Will Kinghan

The John Dee Oracle: Wisdom from Queen Elizabeth’s Magician, by John Matthews with illustrations by Will Kinghan
REDFeather, 0764369768, 112 pages, 29 cards, September 2025

John Matthews’ The John Dee Oracle: Wisdom from Queen Elizabeth’s Magician, illustrated by Will Kinghan, is a fascinating and highly specialized divinatory work that draws readers into the intellectual, magical, and symbolic  universe of one of the Renaissance’s most enigmatic figures. John Dee—astrologer,  mathematician, alchemist, historian, advisor to Queen Elizabeth I, and architect of a vast  esoteric system—has long occupied a singular place in Western occult history. This oracle seeks to translate that world into a modern tool for contemplation and guidance, and in many respects, it succeeds admirably. 

From the outset, this set distinguishes itself through atmosphere and scholarship. The  presentation is elegant and historically evocative with a handsome box design that reflects the Renaissance palette of parchment, crimson, and gold. Included with the deck is a folded reading diagram based on the four watchtowers, a visual element that immediately signals that this is not a casual or generic oracle, but one grounded in a very specific magical worldview. The accompanying guidebook further reinforces this impression, offering not only card meanings but substantial historical and symbolic context. 

The cards themselves are beautifully produced. Each image is framed by the Enochian alphabet, instantly establishing the deck’s connection to Dee’s angelic and ceremonial  system. At the center of each card is a richly detailed illustration rendered in a woodcut inspired style that feels entirely appropriate to the period being invoked. The artwork by  Will Kinghan captures the texture of Renaissance engraving and manuscript illustration while remaining clear and readable for modern users. There is a gravity to these images— an atmosphere of libraries, observatories, hidden chambers, royal courts, and sacred  diagrams.

One of the deck’s greatest strengths is the density of symbolism embedded in its design. Planetary magic, alchemical process, sacred hierarchy, and esoteric correspondences are  woven throughout the imagery and structure of the cards. Readers with a background in  ceremonial magic, astrology, Renaissance occult philosophy, or Western esotericism will  find layer upon layer to appreciate. This is not symbolism added for decoration; it is integral to the architecture of the oracle itself.

Matthews also deserves praise for the scholarly dimension of the guidebook. His historical  treatment of John Dee and the figures surrounding him adds depth and humanity to what  could otherwise remain abstract. The presence of Queen Elizabeth I—Gloriana within the  deck’s symbolic language—along with other notable historical personalities, gives the  oracle a lived historical texture. Rather than presenting Dee as a mythic stereotype, the  book situates him within the political, intellectual, and spiritual currents of his time. 

Especially noteworthy is the inclusion of Dee’s original Enochian Calls in a new translation  by Matthews. This alone gives the set value beyond divination. Readers interested in  primary-source inspired esotericism, textual history, or ceremonial tradition will find this material deeply engaging. Matthews has long been respected for his work with mythic and magical source texts, and that experience is evident here. 

Where this oracle may divide readers is in its practical accessibility. Unlike many modern oracle decks that encourage broad intuitive use through multiple layouts and flexible daily draws, The John Dee Oracle is more precise and structured in its application. Its method of consultation is rooted in the logic of Dee’s own system, where order, placement, hierarchy, and timing matter. Contextually, this makes complete sense. Dee’s world was  not one of casual inspiration cards, but of disciplined inquiry into cosmic law and divine intelligence. 

However, for the average everyday user seeking a quick, fluid, or emotionally oriented oracle experience, the deck may feel more formal and less immediately adaptable. Its use is better compared to consulting a specialized instrument than pulling a daily affirmation card. This is a deck one reaches for with intention during significant questions, crossroads, periods of study, or moments requiring careful reflection. In that sense, it  mirrors how Queen Elizabeth herself might have sought Dee’s counsel: not constantly, but  strategically. 

That limitation, however, is also part of the deck’s integrity. It does not dilute its source  material in order to become universally marketable. Instead, it remains true to the spirit of Renaissance magic: exacting, symbolic, hierarchical, and profound. Readers willing to  meet it on those terms will be richly rewarded. 

Overall, The John Dee Oracle is an impressive achievement. It is beautiful, intellectually  serious, historically rich, and spiritually distinctive. While it may not become an everyday  deck for all readers, it stands as an exceptional collector’s piece and a deeply rewarding oracle for those drawn to alchemy, astrology, ceremonial magic, and the hidden traditions  of the Renaissance. For students of John Dee and lovers of Western esotericism, it is not merely recommended, it is indispensable.

Voyages with the Celtic Saints, by John Matthews

Voyages with the Celtic Saints: Stories and Wisdom for Travelers in Search of Truth, by John Matthews with illustrations by Joe Machine
REDFeather, 0764368796, 224 pages, March 2025

Voyages with the Celtic Saints: Stories of Wisdom for Travelers in Search of Truth by John Matthews is an exploration of the extraordinary lives of 14 “ordinary” Celtic saints through a telling of their lives, their struggles and revelations, and ultimately their invitation for all of us to join them on a continuing voyage.

As Matthews writes, “the central theme of this book is voyaging. Voyaging of the soul, of the heart, voyages of the mind”.1  Voyages by their very nature are based on a desire to explore, to find the new, to uncover what is longing to be revealed. And in doing so, the personal voyage extends to a sharing of what was uncovered.

“The most wonderful and profound mystery that the Celts have to teach us is about our uniquely intimate relationship with the natural world.”2

Matthews focuses on 14 Celtic saints: Brendan of Clonfert, Kevin of Glendalough, Brighid of Kildare, Columba of Iona, Senan of Scattery, Mochua of Rahen, Samthann of Clonbroney, David of Wales, Gobnait of Ballyvourney, Ciaran of Clonmachnoise, Maedoc of Ferns, Berach of Connaught, Patrick of Armagh, and Kentigern of Scotland.

For each saint Matthews provides an overview of their place in Celtic history, their life and challenges, as well as what they offer to those who are willing to accept their gifts. Matthews offers meditation points on which to reflect how to incorporate these offerings into one’s life. Finally, he concludes each section with a poem on the saint or a prayer, some of which are translations from centuries past or attributed to the saint his/herself.

Some of these saints “makes it clear that Druids and Christians had far more in common than is generally understood, and that there were evident parallels in their approach to spirituality.”3 Brighid, for example, was one of the most important characters in the Celtic world who then was referred to as Saint Bridget by the Christians. Brighid, the goddess of the hearthfire, has a Christian feast day on February 1, the Celtic festival of Imbolc.

Some saints I was familiar with, others became new friends. On my most recent visit to Ireland, I met Saint Kevin when I serendipitously visited Glendolough. Naturally, I began my reading with him. Glendolough is in the Wicklow Mountains not far from Dublin. The remains of his monastery remain and can be visited. Although there was a communal setting for the monks, Kevin preferred a hermatic life surrounded by animals and birds.

As Matthews writes, “The importance of animals in everyday Celtic culture was considerable, and there are a number of stories that show that Kevin’s relationship with animals and birds was a not-uncommon tradition among older, pre-Christian figures.”4 The meditation points for Kevin’s chapter include thinking about your encounters with living things in nature and how you felt – awed, afraid, loving, angry.

I’ve been drawn to Iona for a long time. My rational side doesn’t understand how this Italian-American woman longs to visit this small, hard-to-reach island of the Inner Hebrides off the coast of Scotland. While my soul longs to visit Iona in person, my spirit travels there a lot, especially through readings such as the chapter on Columba.

Columba was known to be a seer and prophet. The chapter reveals extraordinary events in his life. Matthews reminds the reader that like Columba “our own sense of relationship with the cosmos may come only in flashes”5 but it is available to us nonetheless. The encouragement is to become aware of and embrace this inner knowing. For one of the meditation points on Columba, one is asked to “draw a ‘map’ of your spiritual journey, showing how certain key points are connected.”6

Brighid of Kildare exemplifies how to incorporate the feminine into one’s creative and spiritual life. Brighid is most associated with divine fire, in fact, she is most often depicted as a flaming redhead. The founder of a monastery in Kildare, Ireland, she is a crossover between the “pagan” and Christian worlds. She is the protector, the midwife, her mantle providing protection for one’s home and its occupants. One meditation point for this fiery spirit ask “what kind of fire illuminates your life, what inspires you and how can you find more of it in your day-to-day living?”7 This one also particularly resonated with me.

Illustrator Joe Machine truly brings his artistic gifts forward in this book. The illustrations are done in a stark, monochromatic woodcut style. There is such detail in each one; readers will certainly spend plenty of time completing the beauty of the companion illustrations for each text. My favorite image is Gobnait of Ballyvourney, Lady of the Bees, depicted holding her hand up as she connects with nature, a serene expression on her face and a swirl of bees surrounding her.

Overall, Voyages with Celtic Saints is a quiet meandering sail through time, perfectly suited for readers who appreciate subtlety, mystery, and the sacred rhythms of early Christian life. I highly recommend it for spiritual seekers, Celtic Christianity enthusiasts, and lovers of reflective travel writing. It’s a book that I feel one should spend time with, incorporating the lessons and meditations of these saints into your life.