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Tree Wisdom, by Alice Peck

Tree Wisdom: A Journey of Wisdom, Symbols, Healing, and Renewal, by Alice Peck with illustrations by Melissa Launay
CICO Books, 1800652631, 144 pages, September 2023

Full transparency, I’m a tree hugger. I live on a property that is home to many trees, mostly pine. I hug them, I talk to them constantly. I share my life with them, I ask for their advice. They’ve seen my children grow up, move away, and return with their own children. And today, as I write, the old tree that is in the front of the property, is being cut down. I avoided it for so long, but the majority of the tree is dead and is dropping limbs onto the road that could harm a pedestrian or someone in a car. I made my peace with the tree and thanked it, but I have to admit the grinding of the wood chipper is unnerving. The irony of the fact that it’s being cut down as I write about Tree Wisdom: A Journey of Wisdom, Symbols, Healing, and Renewal, by Alice Peck is not lost on me.

Peck shares a similar love and appreciation of trees. The kernel of the book started with a relationship that she had with a maple tree, one that was a part of her life and amazingly survived Hurricane Sandy. Peck understands the wisdom that trees impart, if we are willing to listen, to engage with and to, as she encourages, be more tree.  As she observes, we all have access to trees, no matter where we live. She shares how trees move and steady her.

The book is divided into four “useful but arbitrary”1 sections: “Roots”, “Branches”, “Leaves”, and “Seeds”. Each section profiles a type of tree accompanied by Melissa Launay’s colorful illustrations. There are also quotes for each profiled tree from a myriad of individuals from Marcus Tullius Cicero, a Roman philosopher, to poets such as George Marion McClellan and Walt Whitman, and to authors such as Virginia Woolf. Also, for each tree, Peck includes either a suggestion. These suggestions range from how to tree bathe to how to dine on fruits of trees.

The section “Roots” revolves around wisdom, lore, understanding, and, of course, on foundation – our foundations, be they family and/or cultural. She encourages the reader to “consider how we are rooted in time.”2 The interconnectedness of tree systems, whether roots are shallow or run deep, the tenacity of trees to survive. In this section, I particularly liked the profile of Cinnamon and its importance in trade.

The trees in the “Branches” section are associated with symbols, myths, and rituals. Peck shares that for her all trees have meaning, in a general sense and in a very personal way. Many will  develop a relationship with a certain tree or grove of trees that are in their lives; the tree you pass every day, the trees you visit every year on a vacation – all personal.

Healing, science, and practical applications are the focus of the “Leaves” section. Leaves are the most obvious way that most of us use to identify trees. “Just as every tree has a specific leaf identity, many trees heal in a specific way.”3

The “Seeds” section is all about awareness, transformation, and spirituality. “Trees are a lesson in transformation – from a pip and a promise to towering and enduring.” (102) Peck meditates on whether the trees that she sees were planted on purpose or “just the miracle of the wind and weather?”4 She focuses on how trees teach us about hope, transformation, tending to, quiet, solitude and community, healing, and endurance.

“They’re also the way that humans can touch the future. A seed is a promise, a hope, and it’s not just the promise that trees make to us, but the promise that we make to trees – for what’s a tree without the planting, tending, and the protection?”5

The book ends with the profile of the Sequoia, some of which are over 2,000 years old, which was just one of many facts I learned while reading. For instance, I’ll admit to not having known that Frankincense is a tree until I read this book. Its resin is prized and in the New Testament its resin was offered as one of the gifts from the Magi to the baby Jesus. Ayurvedic medicine uses it for healing.

I found myself feeling very zen while flipping through the pages. Launay’s illustrations are bright and colorful, but also convey a sense of calm and stability, just like the towering presence of trees. While Peck shares insights about each tree, Launay captures the tree’s spirit, bringing them to life.

I recommend Tree Wisdom without reservation, and I suggest that you read at least part of it in the company of a tree. The multiple angels Peck approaches our loving tree friends will surely bring inspiration and refreshment to your spirit. Now, I will go to the nursery and select a sapling to plant at the site where my old tree was just felled!

A Beginner’s Guide to Ogham Divination, by Ceri Norman

A Beginner’s Guide to Ogham Divination, by Ceri Norman
Moon Books, 1803410922, 240 pages, December 2022

A Beginner’s Guide to Ogham Divination by Ceri Norman is an excellent resource for anyone interested in exploring the fascinating world of Celtic divination and provides a comprehensive introduction to the ancient Celtic divination system known as Ogham. Norman gives readers a thorough introduction to the ancient Ogham system, touching upon the history of the communication system, and offering practical advice and insights for beginners. Throughout this book, Norman provides readers with a step-by-step approach to understanding and utilizing Ogham for their own divinatory purposes. 

The book begins by explaining the origins of Ogham, tracing its roots back to the early Celtic Druids. It delves into the symbolism and significance of each Ogham symbol, known as a “feda,” which represents a letter of the ancient Celtic alphabet. The author explores the mystical qualities and associations of each feda, allowing readers to develop a deeper understanding of their divinatory meanings. Norman is careful to keep her readers mindful and respectful of the tradition and ancestries associated with Ogham while also allowing space for personal exploration and expression. Ogham has meaning but Ogham is also meant to create meaning for each person.

Norman does a fantastic job of explaining the historical significance of Ogham, making it easy for beginners to grasp the basics while still being thorough and complete in her explanations. This well-structured book starts with the fundamentals and gradually delves deeper into the meanings of each Ogham symbol. The author’s writing style is clear, engaging and makes complex concepts manageable. Though this is truly structured as a book for beginners, I did not find myself bored or irritated by the simplicity, despite not being a true beginner with Ogham. Norman is one of those authors who knows what she knows and also knows how to present her knowledge in an engaging way for a variety of readers.

What really sets this guide apart is its emphasis on practical application. Norman provides step-by-step instructions on various divinatory techniques, such as casting Ogham staves and using Ogham cards. Because of this, readers are encouraged and able to actively engage with the divination process. Throughout the guide, these practical techniques and exercises are presented to help readers connect with the energy of the Ogham symbols and develop their own intuitive abilities. The inclusion of exercises and meditations enhances the learning experience, helping readers develop their intuitive abilities and connect with the ancient Celtic wisdom.

In particular, in Chapter 5 “Divining with the Ogham”, Norman presents twelve different spreads or methods for divination. Most books provide 3-5 of the most well-known or popular. Because of her commitment to authenticity and honor, Norman went far beyond what’s typical for beginner’s guides. She also gives readers Diety correspondences both old and new, letting readers know that “a few are older and come from older mythology such as Bran’s link to the Alder Tree, others are newer and come from more recent folklore, Wicca, the Druid revival, and the like.”1

In fact, Norman is so careful to present all of her information with honesty that she tells readers that some of the information she included about crystals, planets, elementals, and animal correspondences “are all modern modern” and that she feels it is “important for [her] to be honest about that with you.”2

In addition to the divinatory aspects, the guide also explores the spiritual and ancestral aspects of Ogham, emphasizing the importance of connecting with nature, ancestry, and the Celtic traditions. Norman emphasizes the spiritual and ancestral aspects, encouraging readers to cultivate a deep reverence for nature and their Celtic heritage – or, the elements and gifts of the Celts that can be seen across many ancestral heritages. This holistic approach adds depth and meaning to the divination practice, creating and holding space for personal growth and self-reflection at each individual reader’s pace and place along their journey.

Overall, A Beginner’s Guide to Ogham Divination provides a comprehensive, invaluable resource for those intrigued by Celtic divination and seeking to explore the wisdom of the Ogham system. Ceri Norman’s expertise and passion shine through in this well-crafted guide, making it a must-read for anyone interested in delving into the ancient art of Ogham divination, exploring the ancient Celtic wisdom, and utilizing Ogham as a tool for personal insight, guidance, and connection with the spiritual realm. From brand new beginners to those of us who want to reconnect with what we’ve learned and experience it anew, this book is a welcome companion, and a smart traveling partner along the divination journey.

Trees are Our Letters, by Carol Day

Trees Are Our Letters: A Creative Appointment with Nature’s Communicators, by Carol Day
Moon Books, 1780993862, 136 pages, March 2023

Trees Are Our Letters: A Creative Appointment with Nature’s Communicators by Carol Day is a beautifully written and informative book that explores the remarkable ways in which we are all – humans, nature, and spirit – connected by stories. In particular, she highlights the ways trees communicate with each other, the world around them, and to the creative, spiritual centers of our being. Day offers readers a glimpse into the narrative, consciousness, and mystical history of each tree she has included before taking us on a creative journey with the tree as our guide and mentor. This fascinating approach to writing and introspection succeeds in helping the committed reader unlock their creative potential while making discoveries about the self, personal motivations, and some of the intricate ways each of us is uniquely connected to our environment and ancestry.

In the first chapter, “Sycamore,” and at the beginning of every subsequent chapter, Day introduces the creative structure that she works with throughout the book. The structure is the same regardless of the type of tree being visited. Beginning with the roots, readers are given the history and lore of the tree. Then, moving into the trunk and outward through the branches, readers are guided into a sensorial practice and then a spiritual practice of journeying either into self and tree or outward through “realms behind this one.” When readers reach the Leaves, they are given healing exercises that align with each specific tree and whatever intention the reader brings. Finally, Day helps readers access and spread the seeds of their own creativity through written and spoken word.

In total, there are ten trees visited throughout the book: Sycamore, Beech, Cedar, Poplar, Magnolia, Cherry, Elm, Horse Chestnut, Hornbeam, and Sequoia. Day highlights the different, mystical energy of each tree while being mindful of keeping readers grounded in the deep similarities shared within nature and between the natural world and humans. While most of the exercises and pathways in the book are designed to be easily accessible, there are some specialized tools suggested by Day, as well as a requirement to work directly with each tree.

In the introduction, Day informs readers that the most effective way to go through the exercises in the book is to first attune ourselves with trees by “[taking] some time to be with the trees for the days approaching when you will begin the material.”1 Readers in urban environments might have a difficult time locating and accessing natural places in which to do this. As each individual tree is introduced, readers are instructed to go through the structured exercises in the presence of that specific tree.

Undoubtedly, several readers will have difficulty locating each tree in order to engage in a fully immersive practice. Day acknowledges that and suggests that readers might take a leaf, seed, or branch (after asking permission from the tree) to use throughout the chapter. However, even locating those items can be impossible for someone living in an urban environment or in a part of the world where such trees simply do not grow. Being unable to locate several of the trees, or parts of the trees, I felt as though I missed out on a lot of the benefits of each experience. For example, it was impossible for me to sit underneath a specific tree or to sniff it and listen to its leaves as part of the healing exercises.

The general idea in each chapter is to draw on the history and magic of each tree, allowing the tree to speak to and reveal your creative, storytelling power. Even without the ability to smell or touch some of the trees, I felt genuinely connected to them through Day’s careful guidance and her gentle words of encouragement and support. She takes the reader out into the world and space of the tree and then, using the senses, brings everything home to the individual writer, in their own bodies that are sharing space and love with the trees.

In one writing exercise, Day asks readers to explore two parts of their personality that might not always seem to be in alignment, or to consider another person with whom they might share a challenging relationship with. Then, using the tree imagery and the internal work the reader has done through the chapter, she guides the participant into considering various aspects of themselves or the other person to create a healing story about “The World I Couldn’t See.” When I completed this healing activity, I found that I reached a place of forgiveness for my inner-adolescent and her not-too-great choices. Along with Day’s inspirational words, that errant teen and I made amends and storied a wonderful world together!

If you feel a connection to nature, or even if you’re just hoping to learn more about the natural world around you, and you want to take a creative journey to places inside and out, Trees Are Our Letters is the book for you. You’ll be doing yourself and your spirit a service to set aside some time each week to read, complete the exercises, and write all new stories of yourself, for yourself, and in honor of the earth that carries you. 

The Cult of the Yew, by Janis Fry

The Cult of the Yew: Tree of Life, Mystery and Magic, by Janis Fry
Moon Books, 1803411538, 480 pages, April 2023

Artist and yew tree specialist Janis Fry was first initiated into the yew mysteries in the fall of 1974, when she stumbled upon the Aberglasney Yew tunnel while exploring the overgrown hedges surrounding an old dilapidated country house in West Wales. The bent boughs of the ancient yews had fused together, forming a magical cathedral-like archway that drew her into a lifelong spiritual quest for the secrets of the legendary Tree of Life. 

Fry is now one of the foremost authorities on yew trees and advocating for them has become her life’s work. Her native Great Britain has the largest treasury of ancient yew trees in the world. There are at least 174 ancient yews in the United Kingdom, and many of them are over 2,000 years old.1 Some of the UK’s most precious arboreal treasures are even estimated to be 5,000 years old, such as the Defynnog Yew in Wales and the Fortingall Yew in Scotland. Many of these ancient yews preside over churchyards, where they should be safe and well maintained.

However, Fry laments that there are no legal protections for these sacred trees and many suffer from neglect, becoming strangled with ivy and more vulnerable to breakage during storms, or having limbs amputated that should have been left alone to take root in the ground and regenerate.2 The hollows of some church yews are even used as storage sheds for groundskeeping supplies such as lawnmowers and oil tanks.3 Even if the clergy does take proper care of their sentinel yews, the trees are still in danger if the church closes down and developers purchase the land.

“Most people assume that ancient trees are protected,” Fry says, “but this is not the case unless someone has gone out of their way to have a Tree Protection Order placed on a particular tree and even if a tree has a TPO, the level of protection offered is not much of a deterrent to a developer who will often simply include the cost of the fine in the cost of the development.”4

A petition that Fry created on change.org to save Britain’s ancient yews has gained over 300,000 signatures so far. Her sense of urgency comes from the heartbreak of seeing so many of them become firewood. “Over 500 ancient Yew trees have been destroyed since the Second World War,”5 she says on her petition.

While Fry’s activism focuses on the physical preservation of yews, her artwork and books illuminate the otherworldly beauty of the yew and its spiritual significance as the Tree of Life. Fry feels she has a telepathic connection with yews, and they communicate with her visually, through imagery and symbolism, which she channels into her art. Many of her paintings are haunted by yews—the cover of The God Tree (2012) featured an acrylic painting of the selfsame title depicting red humanoid shapes emerging from the thick bark of a graveyard yew, their arms stretched skyward, rising like flames in the night. The blurred watercolor silhouette of a moonlit yew reflected in a rippling triangular pool, titled “Yew and Well,” graces the cover of her latest book, The Cult of the Yew: Tree of Life, Mystery, and Magic (2023).

“The phenomena known as ‘Yew’,” Fry says in the introduction, “is far more than a tree. It is a holder of wisdom, a keeper of knowledge and quite possibly a creator god and watcher of the human race. The Tree of Life, the Otherworldly tree, is a conscious entity, a tree that can bleed like a human, change sex and produce the enigma of the Golden Bough.”6

In The Cult of the Yew, Fry expands upon her previous research in The God Tree and aspires to track down a royal bloodline of sacred yew, called Taxus Sanctus, which descended from the original Tree of Life. She believes the offspring of this fabled tree were propagated by members of a yew cult who traveled long distances carrying cuttings, roots, and branches as staves or wands and planted them throughout Britain. Fry traces the original holy tree back 15,000 years, to the temple of the sun god Atum Ra in the ancient Egyptian city the Greeks called Heliopolis, and suggests that the ankh, the Egyptian symbol for eternal life, represents a branch taken from the Tree of Life. After a severe flood, she thinks an offshoot or cutting of the tree was rescued, taken to the Sumerian city of Eridu, and transplanted in the Garden of Eden.

Fry asks her readers to keep an open mind as she presents controversial theories that will be a stretch of the imagination for the more incredulous members of her audience. In the third chapter, titled “The Dragon Serpent Tree Gods,” she subscribes to the ancient astronaut fringe theory that human beings were a hybridization of primate and alien DNA created by reptilian extraterrestrials to be a slave race.

She quotes proponents of the theory such as Zechariah Sitchin (Earth Chronicles, 2004), who posited that the Annunaki gods of the Sumerians came from a hypothetical planet called Nibiru and created humans to mine gold for them in South Africa. According to one Babylonian myth, before the creation of humans, the Annunaki had enslaved a race of younger gods called the Igigi. One of these beings, Kingsu, led a rebellion and was ritually sacrificed by the god Marduk, who then created humanity from clay mixed with Kingsu’s spilled blood. We therefore inherited our rebellious nature from the Igigi gods.

From this perspective, the Biblical serpent represents our reptilian blood and the tree our earthly roots. Norse mythology even identifies the first human beings as trees, and Fry considers the possibility that the yew and the serpent are one. As a tree god, the serpentine yew thus symbolizes the hybridization of celestial blood and primate clay used to create humanity. 

The duality of the yew makes it a prime candidate for the tree of knowledge. “We must not forget that like the viper or serpent, the tree carries deadly poison which can and does kill and has no antidotes,” Fry says. “On the other hand, it also provides Taxol that heals cancer. This is a tree of opposites, of contradictions, a tree of good and evil.”7 She also says that the yew “was described in ancient times as ‘the snake that swallowed itself, referring to the yew’s habit of putting down an aerial root inside the old tree to make a new tree inside it.” 8

In summer heat, the yew sweats toxic vapors that can induce a shamanistic trance state. This alkaloid poison is called taxine, and inhaling the vapors can stimulate visions and facilitate communication with the dead. Fry says of the yew that “One of its functions is to act as a portal in time and space and another is to enable some to cross kingdoms, other realms and dimensions that run parallel to our own.”9

Fry attests to the supernatural power of yews to distort time and transport one to other realms. “On a personal level,” she says, “I have experienced a kind of rapid downloading of information and visions of things from times past at ancient yew sites.”10 She suggests that one might be able to step inside the hollow of a yew and time travel through dreams and visions.

Another theory Fry presents is that the ancient Egyptians brought the sacred yew to Britain. As evidence of Egyptian migration to Ireland and Scotland, Fry references a 13th or 14th century Middle-Irish manuscript titled The Settling of the Manor of Tara, which relates how Diarmait, the High King of Ireland, held a great weeklong feast in Tara every three years, and was considering reallocating the Manor of Tara for cultivation in order to cover the expenses.

Before making a decision, he summoned the wisest men in the land to advise him, who in turn referred him to an even older and wiser man, named Fintan son of Bóchra, who had been alive for 5,500 years and traced his ancestry back to Noah. The king asked Fintan if he had any historical information that would help him settle the Manor of Tara. Fintan then told him the story of how a heroic giant named Trefuilngid Tre-eochair came to Ireland from the west at sunset on the day of Christ’s crucifixion, carrying a golden branch of Lebanon wood. The giant attended an assembly of the people of Ireland and their king, Conaing Bec-eclach, in which the king related the history of his people.

King Conaing told the giant that after “the confusion of tongues”11 his people were invited into Egypt by the Pharaoh, but left when the Israelites escaped, because they feared being enslaved in their place, and migrated to Ireland. Trefuilngid Tre-eochair remained in Ireland for forty days and nights, advising the people on how the land should be apportioned. Before leaving, he gifted Fintan son of Bóchra some berries from the branch he carried so they could be planted throughout Ireland. Fintan said that Trefuilngid “was an angel of God, or he was God Himself.”12

Fry interprets this manuscript as proof of Egyptian migration and claims that the branch of Lebanon wood is in fact yew instead of cedar, which is what scholars have previously assumed Lebanon wood to be. Fry suggests that Fintan himself was a yew tree, since one can live for over 5,000 years and could have survived the Great Flood. While this document is fascinating, I suspect that a medieval manuscript alone is not viable evidence because it only proves that the writer was captivated by the magical allure of Egypt and felt inspired to trace a mythical vein of Irish ancestry back to the Nile.   

Fry also posits that the Ankerwycke yew beside the Nile-like River Thames may be one of the trees brought to Britain from Egypt, and that the name Ankerwycke may be derived from the Egyptian Ankh, which she believes to represent a “sacred branch from the Tree of Life.”13 Fry mentions that there is evidence of an Egyptian burial in Tara, Ireland, and advises the reader to refer back to her former book The God Tree for details on this topic and others she explores in greater depth, but unfortunately it is out of print, and may not be easy for the earnest reader to acquire.

In Nevern, Wales, there is an avenue of rare bleeding yews, which shed a substance that resembles congealing human blood. Why they bleed is a mystery, and Fry offers a spiritual explanation by connecting them to Christ, whose blood, she asserts, is the blood of the sacred yew, and is an elixir of immortality.

Fry claims that Jesus was not crucified, but hung on a living tree that was planted on Adam’s grave at Golgotha as atonement for Cain’s murder of Abel. She says that “the sacred Tree of Life, the one Jesus hung on, was no doubt a bleeding monoecious yew”14 (monoecious trees are hermaphroditic, having both male and female reproductive organs), and it was Constantine who changed the living tree to a post of dead wood.

“The truth,” she says, “is that Jesus was hung on the Tree of Life, despite the later myth-making which turned Jesus’ death into a crucifixion with the Romans in charge rather than the Jews, whose tradition it was and who planned it all. The events leading up to Jesus’ death led to a ritualistic death for which he would have been prepared all his life and which would have been managed by Nicodemus and Arimathea.”15 Fry believes that Joseph of Arimathea, who was Jesus’ uncle according to Talmud, brought a branch from the Tree of Life, upon which Jesus hung, in the form of a staff to Britain.

A source Fry cites for the true cross being a tree is The Epistle of Barnabas16, an apocryphal gospel written in Greek between 70-132 CE that was named after the reputed author Barnabas, a companion of the apostle Paul. The Epistle was included in the fourth-century Codex Sinaiticus, or Sinai Bible, but was later removed from the canon. “It was Barnabas who wrote about Jesus being hung from a tree and not crucified,” Fry writes before quoting Barnabas 8: “‘the reign of Jesus is on the tree’.”17

Fry’s case for Christ being a bleeding yew god is compelling and holds mythopoeic appeal. It reminds me of the early eighth century Anglo-Saxon poem The Dream of the Rood, a medieval dream vision honoring the sacrifice of the living tree that became Christ’s cross (rood is an archaic word for the cross upon which he was crucified). The rood and Christ suffer as one, as both are pierced by nails, tortured, and ridiculed. I can’t help but wonder if this poem betrays a residual belief in the true cross being a living tree, and I’m surprised Fry didn’t mention it in this book. 

Another intriguing insight Fry shares is that Jesus was depicted with a wand in early Christian art. The image of Jesus evolved from a clean-shaven young man with short hair wielding a wand to a bearded and long-haired man crowned with a halo. Over time, the halo gradually replaced the wand, which disappeared altogether by the end of the 5th century. Fry, of course, suggests that Christ’s wand was made of a yew branch taken from the Tree of Life, which she says the early Christians believed was the Egyptian ankh. Or perhaps, if there was no physical wand, that he himself was the embodiment of the eternal life it represented, since the Gnostics called Christ the Tree of Life.

In modern times, the mythical Golden Bough, or Golden Fleece, has miraculously emerged on evergreen yews in clusters of gilded needles that resemble sheep’s wool. Ever since the first one sprouted on the Defynnog Yew in 2002, others have manifested on at least twenty British yews, and Fry is hopeful that they herald a new Golden Age for humanity reconciling with nature.

I was astounded to learn that the Golden Bough of Greco-Roman mythology may have been inspired by the appearance of golden boughs on yews in ancient times. In the sixth book of Virgil’s Aeneid, the Trojan hero Aeneas obtains the Golden Bough as a gift for Proserpina, the Queen of the Underworld, in order to gain clearance into her realm and speak with the shade of Anchises, his dead father.

In Greek mythology, the Golden Fleece was the fabled golden wool of the winged ram of Poseidon that rescued the Boeotian prince Phrixus from his wicked stepmother, who plotted to kill him, and carried him to Colchis, where he was received by King Aeëtes, son of the sun god Helios. In gratitude to Poseidon, Phrixus sacrificed the ram, which was immortalized as the constellation Aries. Phrixus then gifted the Golden Fleece to the king, who hung it on a tree in the sacred grove of the god Ares in his realm, guarded by a vigilant dragon. Later Jason and the Argonauts stole the fleece with the assistance of the witch Medea, the king’s daughter.

“The ancient kingdom of Colchis where the Golden Fleece is found is one of the most important areas of ancient yew forests in the world,”18 says Fry. These myths reveal that the Golden Bough is a symbol of divine kingship, spiritual authority, and a golden ticket that grants safe passage to the Underworld and back, which leads Fry to suspect that the Golden Bough is a magic wand.19 

In her reverence for the Tree of Life, Fry is like a druidess, initiating readers into her yew-centric worldview with artwork and writing that captures the hallucinogenic quality of her god tree. Her wild theories enliven the imagination and compel critical readers to do their own research. Fry hopes this work will inspire her audience to seek out the Golden Bough and restore humanity’s sacred bond with the immortal yew. The poignant message of The Cult of the Yew is that the eternal Tree of Life is a living, breathing, sentient being whose underground current of salvific wisdom will open our eyes to greater truths when all of nature once again becomes our Eden. 

The Tree Horoscope, by Daniela Christine Huber

The Tree Horoscope: Discover Your Birth-Tree and Personality Destiny, by Daniela Christine Huber
Earthdancer, 9781644113226, 144 pages, October 2021

Did you know that everyone has a birth-tree based on the day they were born?  In The Tree Horoscope: Discover Your Birth-Tree and Personality Destiny, Daniela Christine Huber describes the 22 different archetypal trees that shape your personality and lifestyle. As someone who absolutely loves nature, especially trees, it has been a pleasure getting to know more about my signature tree horoscope. The best part is how Huber makes it easy to jump right in and get started!

The book starts out with an introduction to Celtic tree mythology and Daniela’s experience of working with these energies. Previously, I had learned the Celtic tree-months while reading A Spell in the Forest by Roselle Angwin, which covered the Ogham calendar and the 13-month wheel of the year in which tree-months were connected to lunar cycles. Huber has created horoscope profiles based on the archetypal Celtic tree energies. She reminds us that “Following the path of this connection with Nature with our hearts will lead us to the Source, the roots within us.”1

In Huber’s system, each Celtic tree appears twice in the cycle of the year, with the expectation of Oak, Birch, Olive, and Beech that have just one day assigned to them. Every birth-tree also is assigned an earth element (earth, water, fire, air, ether) and Huber offers a short description of the energy of each. She also discusses how connecting with the element of our birth-tree can help restore balance and fulfill emotional and psychological needs. She describes how “Our birth-tree is the guardian of our individual potential; it will always remind us of that fact and help us to become aware of our gifts and talents.”2

There’s an easy to follow chart in the front of the book that makes it easy to find one’s birth date and look up their birth-tree. Mine is Cedar of Lebanon, so I went right to that page first. Immediately I was struck by the beauty of the photograph featured. I think the pictures in this book are one of it’s best attributes. It’s one thing to read about the different trees, but to see photographs of them really helps with identification. I like having a visual when connecting with the energy of my birth-tree.

For every tree, there is information about the elemental family, gifts and talents of those with the tree energy, the tree’s mantra (called “Carpe arborem” by Huber), the tree’s symbolism, and the path of life for people born with this birth-tree. The path of life is the longest section of each horoscope. Then there is a general overview of the personality of people with the birth-tree, healing powers of the tree, birth-tree power, and inspiration for someone with the tree’s personality. It’s quite a bit of information packed into just a few pages!

I really resonated with my tree horoscope. It highlighted my personality pretty well. I especially liked learning more about the healing powers of my birth-tree, and I loved my carpe arborem:

“I am freedom of choice, the core from which the creative powers in my life can take effect. I free myself from the limitations of my understanding with humility and reinvent myself over and over again.”3

This was very affirming for me because I feel like I am constantly reinventing myself as I continue to learn and grow. Creativity is a big part of my life, and I felt the connection with the Cedar of Lebanon tree in this regard. To deepen this solidarity with my birth-tree, I decided to order Cedar incense that I can burn to remind myself of the special powers associated with this birth-tree: courage and self-confidence.

I have shared the tree horoscopes in this book with some friends and family. They too have all been delighted with the insight it’s given them. Another neat feature of the book is the birthday calendar in the back, where you can keep track of everyone’s birthday . It lists their birth-trees, as well as famous people also born with that particular birth-tree. I really like how easy it is to keep track of birthdays, while also learning more about the birth-trees and reflecting on how they reflect the energies of people in my life.

Earth energies, such as flower essences and herbal remedies have always been an important part of life. For years, I’ve focused on bridging heaven and earth by teaching how our energy is always reflected in both the natural world and celestial bodies. The Tree Horoscope does a beautiful job of demonstrating this idea by giving readers insight into who they are based on their corresponding birth tree. I absolutely love how the book fosters an ecocentric view of human’s relationship with trees, acknowledging how they influence our development.

All in all, this is a wonderful book for those hoping to learn more about their personality and discover how it is shaped by their birth-tree. I think The Tree Horoscope would make a great birthday gift, though it’s also useful to store birth dates of loved ones to make sure you never miss their special day. The beautiful photographs are a wonderful way to practice tree identification. While this is only a small snippet of the mythology of Celtic trees, the book is a good starting point for those who want to learn more about the different symbolisms and energies of these mighty connectors of heaven and earth. I’ve really loved reading this book and will definitely be referring back to it as the days of the year go by to see which tree energy is present.

A Spell in the Forest, by Roselle Angwin

A Spell in the Forest: Book 1 – Tongues in Trees, by Roselle Angwin
Moon Books, 1789046300, 288 pages, July 2021

Through and through I believe in awakening our connection to nature through intentional relationship, creativity, and mindfulness. A Spell in the Forest: Book 1 – Tongues in Trees by Roselle Angwin is a beautiful synthesis of all those things, drawing the reader into an ethos of tree wisdom and healing. Angwin also teaches the reader about the Ogham alphabet calendar and how to track the year through the wisdom of trees. Reading this book was a true pleasure that made me excited for my next trip to the forest, as well as interested in how my initiation into working with the Ogham calendar this month will go.

Even though I do not get to indulge in forest time daily, being out in nature is a very important part of my lifestyle. I even went on to get a master’s degree in environmental humanities, intending to further educate myself on the relationship between humans and nature. Trees have always been an ally to me, watching their branches sway, feeling their mighty presence, noticing the many animals that depend on them for sustenance and shelter.

I was delighted to see that Angwin shared my passion for nature, along with philosophy on the need for people to reconnect with the wisdom of trees (albeit remorseful about the calling stemming from horrendous ecological destruction currently occurring). In the introduction, Angwin acknowledges the current crisis that has stemmed from viewing trees as a resource, fostered by the modern Western consciousness that is greatly disconnected from the natural world. She praises the trees, acknowledging their gifts to the environment, healing powers, and spiritual attributes.

“In the moment when we pay attention to the being of the tree, we are also opening a channel for a reciprocal relationship between human and tree. Our job is to be awake to all this: to practise the art of tuning-in to these general and specific qualities; to try and be aware of the exchange of prana and the interrelationship of consciousness.”1

I feel like I experience this interconnection every time I step outside, and I know exactly what she’s describing. And to be honest, never have I felt so transported when reading a book. I truly felt like I was walking through the woods of Britain as I read Angwin’s vivid description of her experiences.

Part I Forest is a brilliant reflection on what she’s learned from trees, mixed in with creative musings that have sprung from her time in the forest.  Blending her memories of times in the woods with her current yearning to connect and heal through her relationship with the trees, her poetry brings to life both mythic and mystic sensations.

“But there are always two forests. And I don’t mean ‘Paimpont’ and ‘Huelgoat’. One is the physical wood and forest we encounter — or don’t, but know they exist — ‘out there’. The other is the abiding forest of our imagination: a pristine (because unaltered – and unalterable – by humans) wildwood; the one we encounter in myths, legends, fairy stories.”2

Angwin describes how much of human’s learning has come through trees. She notes the many mythologies that feature the Tree of Life in cultures around the world, where trees are entry points into different realms of consciousness. Some examples are the Buddha who attained enlightenment by sitting under the Bodi tree or the World Tree in Norse mythology.

My favorite part of the book is near the end of Part I where Angwin discusses the Ogham alphabet, which supposedly was a method for initiating Druids to memorize wisdom teaching and the sun-god Ogma created it by watching the flight of cranes. The crane was a sacred bird to the Druids and “the letters were ‘written upon the sky’ not only by the birds’ wings and legs, but also from their flight patterns and the way they changed when the tired lead bird swapped with another.”3 Like how cool is that?

However, not only is the Ogham an alphabet, it is also a calendar, which marks the different times of the year. Angwin continues to provide more information on the Ogham from the standpoint of it as a calendar. She details the possible connection to a moon-goddess, linking the Ogham to lunar time.

Then Angwin delves into why she chose the thirteen Ogham that she did for this book, based primarily on the work of Robert Graves, although she makes substitutions that resonate based on her personal experience. I really appreciate the way Angwin thoroughly details her choices and thought process throughout the book, making it easy to understand her perception, while also acknowledging it is a multi-faceted topic that has spanned centuries so obviously there’s different points of view.

Part II Tongues in Trees: The Tree Months moves into exploring the thirteen sacred Celtic trees month by month. To begin, Angwin explains “The Song of Amergin,” which is a “spell-like sacred incantation with profound ecological, shamanic and shapeshifting resonances.”4 She created her own version, providing a poetic line for each month, describing an aspect of the tree’s wisdom or its mythological significance.

I was quite delighted to find I was reading the book just as the season transitioned from Hawthorn (May 13th- June 9th) to Oak (June 10th-July 7th). This gave me the opportunity to start my explorations with Oak and then proceed with the rest of the year.

For every tree month, Angwin first provides the genus/species, dates, key words, and line of poetry. Then she delves into very thorough descriptions of the trees’ history, habits, gifts it provides, mythology, symbolism, associations of the tree (ex. Oak Tree has an association with a story in Genesis), Celtic mysteries of the tree, and honestly, so much more!

As far as books about the Oghams go, this one provides the  most background information, well-researched and thoroughly woven together by poetic creativity and detailed historical information. I appreciate this approach immensely because it blends the history, science, mythology, and spirituality of each tree to provide a holistic perspective. It’s a multi-layered approach that is really impactful in creating a connection with the trees.

The final section, Part III Practical, has been a great resource for beginning my journey of connecting with the Oak tree during this month. Angwin offers ideas on how to establish these relationships and begin to map the year through the Ogham calendar. From finding the tree in your own ecosystem (if possible) to sitting with it and meditating, a template for establishing these relationships is created.

Angwin also puts out a call to save the trees, which are rapidly being depleted through foresting, impacting global climate temperatures, by becoming stewards for the trees. Options such as replanting trees, growing your own food, and lobbying are all suggestions she makes to be an active agent on behalf of the trees’ well-being, along with many other useful suggestions. I immensely appreciate her dedication to preserving the natural woodlands, and it made me realize there’s more I could be doing within my own community.

All in all, A Spell in the Forest, is a true gem filled with the essence of trees. This is almost embarrassing to admit, but even just holding the book seems to create an opening with  my heart to the trees. I have hardly wanted to put the book down because it’s so grounding and packed with information. I will certainly be reading it time and time again, as I make my way through the year in accordance with the Ogham alphabet calendar.

I highly recommend this book to those who are seeking more information on the Celtic tradition, particularly the Ogham, or those who simply value the wisdom and sacred nature of trees. I truly believe that by reuniting with nature, on all levels, as this book helps one to do, healing will begin to occur. In the meanwhile, I agree with Angwin that it is essential for us to protect the wildness of the forest, both physical and symbolically. A Spell in the Forest is a wonderful place to begin. I very much am looking forward to the next book in this series!