Liber Nox: A Traditional Witch’s Gramarye, by Michael Howard
Skylight Press, 9781908011855, 217 pp., 2014
Liber Nox is subtitled “A Traditional Witch’s Gramarye” in order to distinguish it from various forms of Wicca and contemporary Paganism, and to emphasize that it’s not in those traditions, but dealing with something older.
The book covers what one might expect from a basic text of witchcraft: the deities, the tools, initiation, circle casting, and the Wheel of the Year. In this regard it’s a good book, and if you need another guide to the Wheel of the Year and the mythology and rituals behind it, or the tools of the craft, then Liber Nox can get you started. Continue reading
An interview with Daisy Eris Campbell.
Reading list for books on Scottish witchcraft.
A fantastic article from Aaron Leitch regarding the fantastical claims of classic grimoires.
Don’t worry, you’re probably not cursed. Continue reading
Feeling down? How ’bout a big hug?
In the tarot, the Death card means many things to many people. Barbara Moore has noticed a shift in her understanding of the card.
Names and seals of the Olympic spirits.
Jason Miller offers great advice on practicing magick without stuff. Continue reading
Wiccecraeft: Shamanic Magic from the Dark Ages, by Sinead Spearing
Green Magic, 978-0-956188625, 184 pp. (incl. appendix), 2011
Over years of discussion with family members and other initiates, I have come to the conclusion that perhaps the biggest problems faced by members of non-Abrahamic faiths is not opposition (both from within their own movements and from without), but the language we use to express ourselves. That is apparent twice within the title of this book. “Wiccecraeft” is bound to both confuse people (did the author mean Wicca craft or witchcraft?) and turn people away (if it is about Wicca, then witches won’t look at it, and if it is about witchcraft, then Wiccans might spurn it). Looked at another way, however, it is obviously intended to make people stop and think about the subject.
The second sticking point is the “shamanic magic” referenced in the subtitle. Purists will insist that shamans only exist with the extreme northern reaches of the inhabited work. There are other words to describe indigenous religious practitioners from other regions. “Shaman,” however, has been used within the academic community in such a non-specific way for decades, so its use is probably guaranteed for the foreseeable future.
The introduction serves to clear up any misunderstandings concerning the use of the word shaman, although the perceived differences between Wicca and witchcraft are not really addressed. Spearing makes it clear that she is aware of the fact that our perception of the world is very different from that experienced by our ancestors. While we may acknowledge this on some levels, it does not make it easy to shift to a more primitive perception. Continue reading
Grimoire of the Thorn-Blooded Witch: Mastering the Five Arts of Old World Witchery, by Raven Grimassi
Weiser Books, 9781578635504, 240 pp. (incl. appendices and bibliography), 2014
Plant spirits appear in the most ancient practices of Witchcraft. These primal entities possess power and knowledge that aids the Witches’ Craft.
Grimoire of the Thorn-Blooded Witch offers the magickal keys to accessing the spirits of the plant kingdom. Decidedly gothic, with many allusions to roses, thorns and shadows, the book’s formal, atmospheric tone is sure to stir magickal memories in the blood of those called to read it.
From the ancient practices of old world witchery springs the Rose and Thorn Path, a system Grimassi manifested after he “fell back into the brewing cauldron from which all things emerge.” He continues, “When I surfaced my self-identity as a witch of any specific cultural expression of witchcraft had dissolved away’. As a grimoire (a traditional book of spells) this book does not disappoint. It presents a usable system of witchcraft based on instantly recognisable archetypes. I have read a few of Grimassi’s books and feel this is his best to date.
The “mastering the five arts” subtitle suggests the book is aimed primarily at serious witches with some level of magical experience. As such I would have appreciated a deeper exploration of the origins of Grimassi’s chosen symbols and plants, but he writes with such authentic wisdom this hardly seems to matter. Central themes are natural divinity and spiritualism — the book deals not so much with plants themselves but the spirits inherent in and attached to them. By showing respect for “Shadow” (the collective wisdom of the earth and ancestors) the green mysteries can be entered. Continue reading