Spirit Boards for Beginners: The History and Mystery of Talking to the Other Side, by Alexandra Chauran
Llewellyn Worldwide, 9780738738741, 216 pp., 2014
The mystery of the talking board or, less commonly, spirit board is exemplified by its most mainstream version, the Ouija board. While talking boards have been used for spiritual practice for centuries, the Ouija board was “invented” and marketed in 1891, where its popularity was only overshadowed by its controversy and mystery. Is it a game appropriate for children? Is it a tool for divination and exploring the spiritual realm? Is it evil? Does it even work? Alexandra Chauran explores that controversy through her personal experience, citing expert opinions, and sharing other’s stories.
The language is accessible, and the reader is given all the information they need to comfortably navigate a talking board session. Chauran expands on the history and spiritual origins of talking boards from using a swinging pendulum to the more modern versions we have today. Continue reading
A Druid’s Handbook to the Spiritual Power of Plants: Spagyrics in Magical and Sexual Rituals, by Jon G. Hughes, illustrations by Damien Switzer
Destiny Books, 9781620552650, 310 pp. (incl. index), 2014
In the introduction, author Jon G. Hughes writes that he “began with the intention of comparing the plant-based preparations, rituals, and magic of the Welsh Druidic tradition with those of the broader and infinitely more documented spiritual traditions practiced all over the world.” However, he continues, writing that he “came in contact with the works of ancient and modern alchemists,” and his “fascination was spurred by the alchemical search for immortality and the involvement with sexual ritual, as both have their place in the Druidic tradition.”
In the first section, Hughes goes into detail about the history of Druidic practices and alchemy. He explains that each practice was created and spread in separate parts of the world, yet they are similar when broken down to their individual workings. Continue reading
A Spirit Walker’s Guide to Shamanic Tools: How to Make and Use Drums, Masks, Rattles, and Other Sacred Implements, by Evelyn C. Rysdyk
Weiser Books, 9781578635573, 258 pp. (incl. glossary, resource list, and bibliography), 2014
Forming your own relationship with your helping spirits, teachers and power animals is essential in shamanic work. Shamanism is a highly individualistic practice in which your skill and effectiveness largely depends on your ability to communicate and work well with them. Anything you can do to make your connection stronger is welcome — especially by the spirits, and author Evelyn C. Rysdyk believes there’s no better way than by crafting your own “power tools.”
Rysdyk assumes you are already an experienced shamanic journeyer and you know your spirit community. Continue reading
The Essential Enochian Grimoire: An Introduction to Angel Magick from Dr. John Dee to the Golden Dawn, by Aaron Leitch
Llewellyn Worldwide, 9780738737003, 352 pp. (incl. appendices), 2014.
Considering everything that has been written on Dr John Dee and Edward Kelley’s Enochian system in the last century and a half, one can’t help but wonder what could be considered “essential” for an Enochian grimoire. Where does one start? What is included? Which Enochian systems? Which elements? Leitch admits this was a challenge when sorting out the material and decided “[i]t must present a simplified overview of the entire system, thereby allowing the student to see the whole proverbial elephant before focusing on the trunk, ears, legs, or other elephantine components in detail.” Again though, with all that Dee wrote, and all that has come since, a simplified overview is not an easy task. Continue reading
Temple of the Drum, by Dragon Ritual Drummers
CD: Dragon Ritual Drummers, 12 tracks, 55:34 min., 2011
I am extremely grateful that a friend pointed me in the direction of Dragon Ritual Drummers a few years ago. In the intervening years, I have had the pleasure and opportunity to receive and review several of their releases and I have yet to be disappointed by the quality of the performances and production values. These folks know how to use their instruments to attain the best possible results.
Almost all of their music is written by members of the group, though they do include a few traditional songs to add a little extra flavour and variety — “Fanga” and “Shaharazad” are examples on this album. Perhaps the most striking thing about their performances is that they don’t use “studio tricks” to make their recordings: there is no sampling from other sources, no instrumental enhancements of any sorts. What you hear is all natural, although it is possible Continue reading