Lots of witchy books this month: I re-read City of Refuge by Starhawk; read Making Witches by Barbara Rieti, and I’m halfway through The Witch’s Athame by Jason Mankey.
At the end of 2018, I decided that I needed to read more books on Wicca and witchcraft, and magic in general. I also have an ongoing intention to read more books by women, queer people, Black people, Indigenous people, and people of colour. Here are the books I have read in January.
I just re-read Letters from Father Christmas by JRR Tolkien. I read it and enjoyed it as a child. Imagine how thrilling it must have been for Tolkien’s children to receive these letters once a year – and to have to wait a year for the next instalment.
If you are looking for a clear explanation of lineaged, initiatory witchcraft, this is it. If you are looking for a coven, thinking of joining a coven, or merely curious, I would recommend reading this book. Even if you are an experienced Wiccan initiate, you could benefit from the perspectives offered in this book.
If your coven is open to seekers, this book should go straight to the top of your recommended reading list, for seekers, new initiates, and even old hands. It’s clearly written, engaging, well-structured, and scholarly.
Everyone should read this book. Especially Canadians. Especially Pagans. Whether or not you care about Indigenous people in Canada. If you do care, you need the information in this book. If you don’t care, you need the myth-busting provided in this book. (If you don’t care, what’s wrong with you?)
Thista Minai (2017), Casting a Queer Circle: Non-Binary Witchcraft. Hubbardston, MA: Asphodel Press.
Aimed at everyone who finds that binary and heterocentric approaches to witchcraft do not fit actual lived reality, this book is an outstanding guide to crafting an inclusive, non-binary approach to ritual. It contains a complete system of magic, ritual, symbolism, festivals, and ritual roles, all designed to be inclusive, safe, creative, and genuinely transformative.
I found myself nodding and smiling in agreement throughout most of this book. The author’s sensible and down-to-earth approach to magic and Paganism was very much in tune with my way of thinking. They  also have an exceptionally clear style of writing, which makes the book a pleasure to read.
The book’s subtitle is “A spirituality that embraces all identities” and the author has done their best to include everyone in the LGBTQIA+ community and heterosexuals too. This book would definitely be of interest to queer Pagans and open-minded heterosexuals. It is not only about queer Paganism, but is about inclusive practice. It is very Wicca-flavoured though, so if Wicca isn’t your thing, you might not like it.
Exploring Queer Paganism
The first chapter explores the meanings of Queer and Paganism. It explains that Paganism, Wicca, and Witchcraft are distinct but overlapping. The second chapter looks at how the standard binary thinking of many Pagans (male/female, light/dark, etc) doesn’t include those of us who don’t fit neatly into a cisgender and heterosexual view of the world. Each section of the discussion unfolds clearly and neatly from the previous section of the discussion. This could be very helpful for those people who still haven’t understood why many (perhaps most) queer people have an issue with the deification of the “masculine and feminine principles”. The next chapter goes on to explore concepts of deity and energy, and how these fit together in a worldview that is not based on the idea of a “masculine principle” interacting with a “feminine principle”.
The second part of the book deals with Magic, and includes an excellent chapter on how magic works (again, very similar to my own ideas on the topic). It also looks at how magic and science interact. The section on the Hermetic principles as described in The Kybalion, which explains how they relate to a queer worldview, is outstanding. This is followed by a chapter on ethics, which was excellent on the topic of magical ethics, but would have been better if it explored the Pagan ethics of life in general.
Living as a Pagan
The third section of the book deals with Pagan life, including living as a Pagan, the importance of balance, how to choose a magical name, and relationships with deities. The chapter on the festivals was disappointing, as it was mainly about the view of the Sabbats as the unfolding story of “the Goddess and the God” which I personally find unhelpful from a queer point of view. It does cover the folk customs associated with the festivals though, so you could build out from these to develop something more inclusive. It explains how to adapt the festivals for use in the Southern Hemisphere, which is good. It also mentions that you can choose to celebrate them on the day when the appropriate seasonal vegetation comes into flower, which I liked. I would have liked to see more information on how to adapt the festivals to be more inclusive of other sexualities (but I have covered this in my book, if you’re interested). The chapter on the esbats and the phases of the Moon was helpful, though.
Meditation and Visualisation
The fourth part of the book covers meditation and visualisation. This includes a technique which the author says is helpful for easing body dysphoria. I have seen this meditation before (and it’s the only technique that I find actually helps me to relax) but I didn’t know it was good for dysphoria, so that’s really useful to know. The section on building an astral temple is also excellent, as it points out that an astral temple doesn’t have to be a building, and can be a grove of trees. I had always assumed that it was supposed to be a building of some kind, and had terrible difficulty building one. I do however, have a grove of trees on the astral, and a rather nice stone circle, either of which could be my astral temple. So that section cleared up a longstanding difficulty for me! The chapter on the chakras is very good (and uses the proper Sanskrit names) but draws on the Western idea of the chakras, which is somewhat different from the Buddhist view of them.
The next section explores magical correspondences, including deities, non-binary deities, queer deities, moon phases and the menstrual cycle (but described in an inclusive  way), orgasm mysteries, the four elements, days of the week, colours, and magical tools. This provides the basis of a system of magic that is properly queer-inclusive. I particularly liked the section on colour symbolism. This section also explains the difference between widdershins and deosil, and why they are different in the Northern Hemisphere and the Southern Hemisphere.
The section on ritual was very helpful, as it goes through how to set up the circle, cleansing the space, calling the quarters, and consecrating the tools and the participants. One caveat on this section though: the author mentions that the high priestess and high priest have absolute authority in the circle (p. 128). I wouldn’t go that far, as they do not have the right to ask you to do something that the vast majority of people would be uncomfortable with, such as French kissing, sex with other people in the circle, or anything massively humiliating. Some of the things that ritual involves may be slightly outside your comfort zone, but that’s why it is a really good idea to have a quick chat beforehand about what is going to happen in the ritual. Other than that, this section is really great and has lots of excellent ideas like having three ritual leaders, one for the God, one for the Goddess, and one for non-binary deity (the Universal, as the author refers to it).
The final section of the book deals with divination, including gematria (finding the magical number of your name), Tarot, runes, scrying, and palmistry. This section was also very good, especially the section on the magical meaning of numbers.
An excellent addition to your Queer Pagan bookshelf
All in all, a very enjoyable read. The book is well-thought-out, and it is very easy to find things again when you want to use it as a how-to guide for magical practice. There were a few typographical errors here and there, but they didn’t detract from my enjoyment or understanding of the book, and they were more than made up for by the exceptionally clear writing style. The author’s lovely drawings also grace the text, and help to explain the magical concepts being discussed.
The book is an excellent contribution to the literature on inclusive and queer Paganism and witchcraft, and I would recommend it to anyone who is interested in making their practice more inclusive and welcoming to LGBTQIA+ Pagans.
Where to get the book:
- Amazon.co.uk – Kindle edition, full-colour paperback, or black-and-white paperback.
- Amazon.com – Kindle edition, full-colour paperback, black-and-white paperback.
- Thrift Books – full-colour paperback, black-and white paperback.
- The author’s preferred pronoun is they [Back]
- The male brain also has cycles governed by the hypothalamus [Back]
I was not sent this book for review. I bought it myself and reviewed it of my own free will and accord. Please do not send me books for review, as I generally dislike writing book reviews, and only reviewed this book because I thought it was important and worth drawing attention to.
The title of the newest exhibition at the Victoria and Albert Museum in London comes from the Beatles song, Revolution. The exhibition tells the story of social change in the sixties through music, fashion, posters, propaganda, a very grainy video of the Moon landings, a piece of Moon rock, and much more. It includes album covers, clothes, furniture, a Wiccan sword, a goat head mask made by Arnold Crowther, The Lord of the Rings memorabilia, music, design, and architecture. They even have Woody Guthrie’s diary, open at the page where he wrote that he had painted ‘This machine kills fascists’ on his guitar.
The exhibition is on until 26 February 2017. As you enter, you are given a headset with sixties music on it, which adds a musical accompaniment to the different areas of the exhibition.
What struck me about the exhibition, and about the decade as a whole, was just how contemporary it all is, and what a radical transformation it represented. The sixties was a time of resisting authority, protest against the Vietnam war, the sexual revolution, gay and lesbian rights, the Black Panthers, and an end to deference. One of the exhibits was the ten-point list of demands from the Black Panthers, which were entirely reasonable, as they included the right of Black communities to police themselves, to get the reparations they were promised after slavery ended, to have decent housing, and to get jobs.
The exhibition also showed the attempts of authoritarianism to push back against all this revolutionary change: the imprisonment of Angela Davis, the murder of Che Guevara, the suppression of the May 1968 uprising in Paris by the CRS (a special unit of the police with a reputation for brutality).
Perhaps we no longer appreciate just how radical a shift the sixties represented. I remember Doreen Valiente’s speech at the Pagan Federation conference in 1997, when she recalled how repressive the 1950s were:
People today have no conception of how uptight and repressive society was back in the 1950s when Old Gerald first opened up the subject of witchcraft as a surviving old religion. You could not go into a shop then and buy a pack of Tarot cards or a book on the occult without getting curious looks and usually a denial that they stocked any such things. There were no paperback books on the occult, except such things as Old Moore’s Almanac and very popular stuff such as how to read tea leaves. Serious books on the subject were only obtainable second hand at very high prices. The mentality of the period was perfectly illustrated by the by the famous enquiry made by a distinguished lawyer in the course of the trial about the publication of DH Lawrence’s book, Lady Chatterley’s Lover, when he quite seriously asked the jury, “Would you allow your servants to read this book?” There was a built in assumption that ordinary people were not entitled to read what they liked, or to think what they liked, and still less to do what they liked.
Before the 1960s, universities had rules in place where students were not allowed to have a member of the other sex in their rooms, and there was a curfew in place. In 1966, a woman could be refused a bank account if she didn’t have her husband’s permission to open one. Younger people were expected to defer to their ‘elders and betters’.
The sixties changed all that. We thought they had changed it forever, but perhaps each generation has to claim its rights anew. This exhibition is a timely reminder of the freedoms that the sixties revolution won for us, and how they were won through struggle and resistance, not through ‘natural progression’ from the old order. The young were the future, and the revolution had taken place in the minds of the young. Everything was in flux, and subject to change. You can see the excitement and optimism about the future in sixties design and writings.
The sixties was the decade that the Pagan revival really took off. This was reflected in the exhibition in a variety of ways – the Wiccan sword and goat mask, and the general atmosphere of a return to Nature, festival culture, the beginnings of rave culture, and a new-found reverence for the Goddess and for women.
There was a widespread fascination with the occult in the sixties too, and this was emphasised by the displays being interspersed with Tarot cards from the Hexen 2.0 Tarot by Suzanne Treister, which explores ideas ranging from computers, surveillance, the Whole Earth Catalog, Thoreau’s Walden, cybersecurity, ArpaNet, and cryptography:
HEXEN 2.0 looks into histories of scientific research behind government programmes of mass control, investigating parallel histories of countercultural and grass roots movements. HEXEN 2.0 charts, within a framework of post-WWII U.S. governmental and military imperatives, the coming together of diverse scientific and social sciences through the development of cybernetics, the history of the internet, the rise of Web 2.0 and increased intelligence gathering, and the implications for the future of new systems of societal manipulation towards a control society. … The project simultaneously looks at diverse philosophical, literary and political responses to advances in technology including the claims of Anarcho-Primitivism and Post Leftism, Theodore Kaczynski/The Unabomber, Technogaianism and Transhumanism, and traces precursory ideas such as those of Thoreau, Warren, Heidegger and Adorno in relation to visions of utopic and dystopic futures from science-fiction literature and film. … HEXEN 2.0 offers a space where one may use the works as a tool to envision possible alternative futures.
Somewhere along the way, the general optimism of the sixties turned into the ‘business as usual’ of the seventies. Sexism, racism, homophobia, and bigotry still stalked the streets. Much of sixties utopianism was blown away in a puff of marijuana smoke, or so it seemed. We realised that the dark side of the sexual revolution was the notion that women must be sexually available at all times. The counterculture still existed, but it hadn’t completely transformed the over-culture. The seventies were a decade of nostalgia, labour unrest, terrible fashion, and a realisation of the dark side of sixties counterculture. The eighties came in with Thatcherism, and the grim battles between striking miners and the repressive police state. In the USA there was Reagan and Reaganomics, Star Wars, and more neoliberal austerity. The UK Labour Party lost its way and succumbed to free-market economics and the doctrine that public spending is bad.
The You say you want a revolution? exhibition offers an immersive trip into the sixties, both counterculture and mainstream, and asks what we gained and what we lost. It’s like a happening, a sixties event where people would be immersed in mind-blowing imagery and music and ideas. Given the current pushing back of the civil rights of minorities under the paltry excuse of anti-terrorism, this is a very timely retrospective.
Do you know the work of Alan Moore? If you’re a Pagan or an occultist, you should.
Moore doesn’t think of himself as a Pagan per se, but he’s a product of the same cultural and spiritual currents that have produced contemporary Paganism. A self-declared magician and worshipper of the “sock-puppet” snake god Glycon, Moore is deeply informed by the Western occult tradition. In particular, his graphic novel series Promethea (1999-2005) is written as a primer on the classical elements, the Tarot, the kabbalistic Tree of Life, and more—all explored within the structure of a Wonder Woman-inspired superhero narrative. With a loose group of colleagues who call themselves “The Moon and Serpent Grand Egyptian Theater of Marvels,” Moore has also recorded several CDs of ritual theater, some of which have been illustrated as graphic novels.
Lest this introduction make Moore sound like a writer who writes for a niche of a niche—comics fans deeply interested in the occult—I should also say that his mainstream appeal is well-established. Best known for Watchmen (1986), a grim and satirical take on the superhero genre, Moore has profoundly influenced the direction of mainstream comics while also working to advance comics as a literary and artistic form. Several of his graphic novels have also been made into big-budget Hollywood films. These have increased Moore’s fame even as he has distanced himself from the films, which he has come to view as crassly commercial. At Moore’s demand, the film version of Watchmen (2009) does not bear his name; Moore turned over his share of the profits to Watchmen’s original artist, Dave Gibbons.
Although Moore has been frequently interviewed over the course of his career, he has been relatively circumspect about his personal life. I turned to Lance Parkin’s Magic Words: The Extraordinary Life of Alan Moore (2013) hoping for deeper glimpses of the man behind the work. In this I was somewhat disappointed, perhaps because, as Parkin portrays him, Moore’s work has largely been his life.
The book does spend time on Moore’s childhood and psychedelic adolescence in a working-class neighborhood of Northampton, a chapter I read with interest. In many places, however, the chapter becomes simply a history of Northampton rather than a history of Moore specifically—and this may be in keeping with Moore’s impression of himself. Moore is a lifelong resident of Northampton; his novel The Voice of the Fire is set entirely on the land on which Northampton is built, though its story begins in the Neolithic. Moore is profoundly interested in what Pagans might call “the spirituality of place,” as well as in psychogeography, a playful approach to urban geography that emphasizes the shifting relationships between people and environment. For the most part, however, Parkin covers Moore’s personal life in a handful of sentences scattered throughout the book, and usually only when it directly relates to his writing. For example, The Mirror of Love (2004), Moore’s poetic celebration of same-sex love, was originally written while Moore was part of a polyamorous marriage; he and his partners published the poem in 1988 as part of a protest against Britain’s anti-LGBT Section 28. About Moore’s daughters, the book says almost nothing except to note that Leah Moore is now a comics writer herself. Moore’s current marriage to Melinda Gebbie is mostly discussed in the context of their long-term artistic collaboration, most notably on the erotic trilogy Lost Girls (2006).
Magic Words is rich in detail, however, when it comes to Moore’s often troubled professional relationships. This level of detail may prove a barrier to the more casual reader; since I am not well-versed in the British comics industry of the late 1970s, I found my eyes glazing over a bit during the chapters that cover this phase of Moore’s career. I am much more familiar with the American comics industry, however, and I found myself engrossed in Parkin’s analysis of Moore’s loss of trust in and ultimate falling-out with his original American publisher, DC Comics.
Parkin also spends quite a bit of space on literary and cultural analysis. One chapter is dedicated entirely to Watchmen, which Parkin contextualizes within Moore’s earlier humorous and satirical work. Parkin’s argument is that critics have taken Watchmen far too seriously, producing readings that miss its irony and humor. Parkin also considers the adaptation of Moore’s novels into films, which he portrays as unsuccessful artistically, but nevertheless functioning to draw attention to the graphic novels on which they are based. Some, like the V for Vendetta film (2005), have had enduring cultural impact; Moore reported pleasure at hearing that the activist group Anonymous had adopted the Guy Fawkes masks used in the book and movie.
Parkin devotes a chapter to Moore’s magical philosophy and practice. Moore sees magic as a type of language, the proper use of which gives one access to the nature of reality. The book’s treatment of Moore as a magician is a good summary of the many interviews Moore has given on the subject, and it retains Moore’s playfulness and self-deprecating humor. Parkin is a little reductionistic, however; he sees Moore’s magical practice primarily as Moore’s way of describing and codifying his creative process, not as a potentially freestanding system of spiritual exploration and development. Readers who are primarily looking for insight into Moore’s occult work will probably be better served by reading Moore’s many interviews or by watching the documentary The Mindscape of Alan Moore (2003).
Overall, I was most impressed by the way Parkin ultimately used his detailed accounts of Moore’s professional relationships to allow the reader to evaluate industry perceptions of the writer. In the last chapter of the book, Parkin presents two competing perceptions of Moore: that his stubborn nature and blind adherence to points of principle have cut him off from the rest of the industry, leading him to create work that is increasingly inaccessible; or that Moore has distanced himself from an overcommercialized and failing comics industry, which has allowed him to concentrate on experimental multimedia work while continuing to garner critical acclaim and financial success. Parkin’s meticulous history of Moore’s working life provides the context needed to potentially make a case for either side (although it is probably obvious on which one this reviewer comes down!).
Perhaps my only real quibble with the book is that it does not fully convey Moore’s warmth, which is frequently mentioned by interviewers, and which I experienced myself in Moore’s response to a fan letter I wrote to him in my early twenties. (After sending the letter, I was floored to receive a reply package containing a kind and funny note from Moore, as well as a book, an article, and CDs relating to his occult interests!) To balance that lack, I’d like to close by relating Moore’s thoughtful advice to new magicians, which was given in 2012 as part of a group videochat to raise money for a Harvey Pekar memorial.
Well, I would say, be careful, and try to remember to keep the four basic magickal weapons–and the properties that they symbolize, more importantly–with you at all times. What you need to do is work upon your discriminating intellect, and your compassion, and your basic drive–your will, if you like–and your material circumstances, and to realize that you need to have all of these things under control if you’re going to be a successful human being or a magician, because basically a magician is just a human being writ large. […] Above all, you need compassion, because even if you’ve got the other three and everything is succeeding perfectly, if you don’t have compassion, you’ll end up as a monster. If you’ve got those four basic things, then I would simply advise you to, yes, be careful, treat all this with respect, because it’s all real, at least inside your head, and that’s the only place it needs to be real. Then, progress adventurously. Don’t be afraid to think new or unorthodox things. Try to make sure that whatever magickal insights you’re receiving are applicable to ordinary, everyday life. If they are simply describing conditions in some imaginary universe that only exists to you, they’re probably not of a great deal of use. If they’re telling you things that you can actually use in your everyday interactions with other people, that you can actually use in your own creative life, then they’re probably useful and genuine. Good luck with it, good luck with it!
[If you’d like to hear the entire group chat, there’s an .avi version with a fair bit of garbling and several cut-outs here; or, leave me a comment with some contact info and I can provide a nice .mp3 of the audio only.]
For those with a general interest in religion and comics, I’d also like to note the recent publication of American Comics, Literary Theory, and Religion: The Superhero Afterlife by my friend and colleague A. David Lewis. The book deals with portrayals of the afterlife in superhero comics–which often contrast with the afterlives of traditional Western monotheisms–as well as the evolving models of the human self that these portrayals reflect. I was involved in the editing process of the book, and I can attest that it is smart, accessible, and compelling. Plus, there’s a whole chapter on Promethea! Check it out via a university library, interlibrary loan, or Amazon.