Upcoming Releases 2018

The second half of 2018 is going to be busy for me with published pieces being released, and since I often have people asking me what I have coming out and when I thought it might be helpful to recap here.

August 31, 2018 - Seven Ages of the Goddess. An anthology by Moon Books that features a series of articles from various authors each focusing on a different aspect of the goddesses in history. I contributed a piece to this focusing on goddesses hidden in folklore. The idea behind it is the way that some goddesses became folkloric characters as paganism shifted into Christianity in europe. There are, of course, many other interesting articles in here as well.

September 18th, 2018 - The Real Witches of New England: History, Lore and Modern Practice by Ellen Evert Hopman. I was interviewed for this book and am in a section of it discussing my particular kind of witchcraft and some of my thoughts on practicing and New England witchcraft.

September 28th, 2018 - Travelling the Fairy Path. The third book in my Fairy witchcraft series this book is also (as far as I plan anyway) going to be the final one. I do like things in threes. It takes a more personal look at my practice and is meant to be a more advanced book, focused on the actual practice of this type of witchcraft.

October 26th, 2018 - Pagan Portals the Dagda. My next Pagan Portals book ,focused on the Dagda, will be out this October. I'm very excited for this one as there just isn't anything on the market focused on this deity and he is such a fascinating and multilayered god.


There are a few other books coming out this year that I don't have release dates for yet. I contributed three pieces to a wonderful Dagda anthology that is on track to publish this year, but hasn't gotten a firm date for publication yet. My 7th novel is also nearly complete and should be out either late May or early June, but again I don't have a precise date yet.

Odin and the Wild Hunt - Excerpt from 'Pagan Portals Odin'

The following is an excerpt from my recently released book 'Pagan Portals Odin'

Cover art by Ashley Bryner

"The Wild Hunt

The Wild Hunt is a group of spectral horsemen who ride the air at night, accompanied by hounds and horses, and led by a fearsome Huntsman (or in some cases Huntswoman). The Hunt is found in several areas of Western Europe as well as America and who exactly they are as well as who leads them can vary depending on where they are, so that in Wales they are known to be fairies led by the God Gwynn ap Nudd, while in Norse lands they are the souls of dead warriors, or the dead more generally, led by either Odin or Odin and a consort (Jones, 2003). In the Germanic areas the Hunt is often led by Odin under the name of Wodan, or sometimes Frau Hulda, or both together, and parts of England by Herne. There has been some suggestion that Herne is either Odin in disguise or else if Herne is a purely literary character that his later development into a deity was heavily influenced by Odin (Ford, 2001). The hunt in Germany is also sometimes led by Frau Perchta, or Frau Gauden [Mrs. Odin], who led groups of dead children or witches through the sky (Berk, & Spytma, 2002). In the areas where it is led by Odin it may be called Odensjakt [Odin’s Hunt], Oensjaegeren [Odin’s Hunters] or Odin’s Army. Odin’s connection to leading the Hunt goes back in writing at least several hundred years and speculatively in oral tradition to the 13th century (Lecouteux, 1999).

    The Wild Hunt is known to ride out at certain times of year, especially during Lent, which is usually March and April, as well as around Midsummer and Midwinter (Grimm, 1883). Meeting the Hunt was usually seen as a bad thing and people would flee indoors or avoid going out when the Wild Hunt was known to be abroad, because of the danger it represented, but it could also bring blessings to people who were clever enough to earn them. For example, in stories like “Wod, the Wild Huntsman” the protagonist meeting the Hunt is rewarded with gifts of meat and gold for his cleverness. Conversely offending the Wild Hunt might mean the person earning a more gruesome reward, such as the corpse of his own child or a severed human limb, while other times the Hunt would turn on the individual and tear them to pieces (Berk, & Spytma, 2002; Grimm, 1883).

The beings who make up the Wild Hunt itself in Norse and Germanic lands are most often the dead, often the battle dead who still appear to bear the wounds that killed them. These ghostly troops also included animals, particularly hounds and sometimes wolves, and horses that may have as few as two or as many as eight legs (Kershaw, 2000). It’s possible that these horsemen are the Einherjar, although they may also be other members of the Dead associated with Odin. 

The Wild Hunt may also have had a living counterpart, a cult of masked youths who engaged in ecstatic practices to connect to Odin and the spirits of the ancestral dead, and held processions at certain times of year (Kershaw, 2000). The Wild Hunt, particularly in Germany, had associations with blessing the harvest (Lecouteux, 1999). We may perhaps suggest that at least in Germany Odin as Wodan and his Wild Hunt was at one point connected to cultic practices that may have had many layers of purpose, possibly both connecting to the dead and blessing the land."

References

Berk, A., and Spytma, W., (2002) Penance, Power, and Pursuit, On the Trail of the Wild Hunt

Ford, D., (2001). Royal Berkshire History: Beware the Ghostly Hunt

Grimm, J., (1883). Teutonic Mythology, volume 1
Jones, M (2003) The Wild Hunt. Retrieved from www.maryjones.us/jce/wildhunt.html
Kershaw, K., (2000). The One-eyed God: Odin and the (Indo-)Germanic Mannerbunde
Lecouteux, C., (1999). Phantom Armies of the Night

Meeting New Liminal Gods - Thallea and Thessilae

A lot has changed for me in my spirituality in the last few years, as anyone who follows my blog knows. But I do still follow the path I - for lack of a better term - call Fairy Witchcraft. And while I now focus my worship more on a specific Fairy Queen, who I feel fits the role of a liminal Goddess, I haven't stopped exploring who and what the liminal Gods are. And just like I had written about in November of 2016 I do sometimes run across new (to me) liminal deities; because Fairy Witchcraft was always meant to be a living and evolving tradition I wanted to share that here.

Today I want to talk about two liminal Goddesses I have started connecting to. Unlike the others who kind of organically came to me over time and exploration these two I found, because I was specifically looking for a deity of healing that felt like they fit in with the beings I already acknowledged. It was a slow process finding the right fit here and when I did finally meet the power I was seeking I was genuinely surprised to realize it was not one but two.

They are sisters, although what they do is very different, but as I have gotten to know them better I have come to believe they are like two sides to one coin despite their differences. They seem to act together as a pair and although I am not sure they are twins, per se, they seem very closely linked to each other; I have never seen them apart even when I am only trying to connect to one or the other.

Thallea, Lady of Roses: a power of healing and growth. I see her with skin like fresh turned earth, her hair a subtle dark green that always seems to be moving slightly, her eyes are black. Although she is focused on healing her mannerism is abrupt and brisk and I found her often impatient even though she is very kind. She is always in motion, like her hair, and rarely rests or sits still. She sings or hums when she heals and her presence is very warm. She is everything passionate about life and the struggle to live and keep living. Roses, especially pink roses, seem to be her symbol.

Thessilae, Lady of Thorns: a power of battle and death. I see her with skin like bone, dark hair and with black eyes like her sister. Her demeanor is calm and precise and she is a study in contrasts - still and peaceful when she is passive and a flurry of precise motion and deadly aim when she is active. I found her temperament to be much more calm and even soothing than her sister's. She may not seem at first like a healer but she is the aspect of healing that comes in the final release from suffering and pain and the transition out of the physical form. Her symbol is the blooded thorn.

An important thing to understand about these two is that in many ways they act together and they don't seem, in my experience, to differentiate at all between health and death as success in healing - both are the cessation of illness after all. They are compassionate and caring but they are, ultimately, Fey and they don't see things the same way we do; to them the spirit goes on in one form or another either with renewed physical health or freed from one body to be reborn in the next. It's just something to keep in mind if you decide to connect to them yourself.

Editing to add pronunciation:
Thallea - Thah-lee-ah with the 'th' like in this
Thessilae - Thehs-sih-laye

Fairy Rings

  One particular bit of folklore that is still especially relevant today is that of fairy rings, also called fairy circles, elf rings, or elf circles. In Welsh they may be known as cylch y Tylwyth Teg [literally 'circle of the Fair Family']. The concept of these rings can be found throughout the different Celtic language speaking countries as well as the various diaspora and some Anglo-Saxon and German lore as well. Fairy rings appear as either a dark circle of grass or as mushrooms growing together in a ring, and less often as a circle of dead grass or small stones. It is said in folklore and common belief that this ring marks a place where the fairies have danced or where they like to dance. In the 12th century there was an English belief which attributed rings of daisies to elves dancing (Hall, 2007). The fairies love of dancing is well known as is their penchant to take people who disturb their revelry, either as a punishment or through a desire to keep the person in Fairy (Evans-Wentz, 1911).

Fairy ring of Clitocybe nebularis (“Clouded Agaric”) photographed near Buchenberg in the Allgäu by Josimda – Own work,CC BY-SA 3.0 via Wikimedia Commons

Fairy rings can appear in different sizes, from three feet across to ten times that size (Bennett, 1991; Gwyndaf, 1991). If they were the sort made of darker green within a field then they would be either moss or much darker green grass and were notable because "no rushes or anything grew on it" (Gwyndaf, 1991). From a scientific perspective fairy rings are created by the fungus mycelium and when they grow above ground can include a variety of mushroom species, both poisonous and edible. Even the dark grass circles or less common dead grass rings are the result of mycelium though, as the fungus naturally grows upwards and outwards in an expanding circle and effects the nutrient content of the soil, resulting in the visible fairy ring effect (Mushroom Appreciation, 2016). The scientific explanation doesn't necessarily contradict the fairylore explanation, and the two beliefs are compatible with each other. For example, in some folklore it isn't the fairies dancing that causes the circle but rather the existence of the circle that draws the fairies to dance there (Bennett, 2001).

A person who comes upon an active fairy ring might see the dancers within it, and even the instruments, but hear nothing from outside, although in other stories hearing the music acts as a lure to draw an unsuspecting mortal in. Most people had a clear aversion to the idea of entering a fairy ring as it was known that to do so risked the fairies coming and taking the person away. In one Welsh story preserved in the late 20th century a person was questioned about why they avoided fairy rings and they relayed the tale of a boy named Robin Jones who entered a fairy circle one evening; he saw the fairies dancing and after what seemed to him a few hours in their company he asked to leave only to return home to find that a hundred years had passed (Gwyndaf, 1991). In a similar tale a man stopped outside a fairy ring, just to watch the fairies dance within for a few hours, and lost fifteen years of time for his dallying (Gwyndaf, 1991). Often the person would dance for what seemed like a night to them, or even only a few minutes, and then be allowed to leave only to find that a year or more had passed. Some fairy rings appear to have been used as a sort of trap to intentionally lure mortals, especially children, that the Fey folk wished to take and these people if they entered the ring would never be returned (Evans-Wentz, 1911). Other times however it seems to be only chance that leads a person to find fairies dancing in a ring; in accounts from Brittany some who join them are treated well and released unharmed with little time passed while those who offend them while they dance are forced to join the circle until they collapse form exhaustion or worse (Evans-Wentz, 1911).

Once in a fairy ring, by choice or by compulsion, a person could not leave unless they were freed by the Good Folk or rescued by another human being.  In one Scottish tale a man fell asleep in the middle of a fairy ring and woke to find himself being carried through the air by the angry fairies who dumped him in a city many miles away (Briggs, 1978). In the above example of Robin Jones the boy was allowed to leave when he asked politely to, although upon leaving he found that so much time had passed on earth that everyone he knew in life had died. In another story a boy was taken through a fairy ring and tried to leave later with a golden ball to show his mother; the fairies took the ball back and threw the boy out after pinching him until he was thoroughly bruised (Evans-Wentz, 1911). He re-emerged and returned home to his mother to find that several years had passed.

Several options were available for those seeking to rescue a comrade from a fairy ring. One Welsh method of securing a person's release was to place a stick of rowan across the boundary of the ring, breaking it (Gwyndaf, 1991). Some suggest throwing specific herbs, including thyme, into the circle, and of course iron is seen as superlative method of both disrupting a fairy ring and protecting oneself from angry Fey (Hartland, 1891). Any iron object would suffice and could be used to break the edge of the ring or could be tossed into the circle to disrupt the dancing. Another method was for someone safely outside the circle to reach in, sometimes by stepping on the perimeter of the ring, and grab the person as they danced past (Briggs, 1978). Even if they were rescued though many times the person could not truly be saved, and those who had danced with the fairies in a fairy ring were known to pine away afterwards or else, if they had been taken for a length of time and allowed to leave they might rapidly age or turn to dust when the truth of their long absence from mortal earth was revealed to them in their home place, then occupied by strangers (Brigg, 1978).

There is a strong belief that if one finds a fairy ring it should not be disturbed, not only because of the possible danger, but because there is a sacredness to the space set aside within them. If one were to damage a mushroom associated with a fairy ring reparations would be offered to avoid punishment (Bennett, 1991). In Scotland and Wales it was generally unthinkable by those who believed in the Good Folk to consider intentionally damaging the ring or mushrooms, and it was believed that those who did so would be cursed (Bennett, 1991; Gwyndaf, 1991). In one Irish story a farmer who knowingly built a barn on a fairy ring fell unconscious afterwards and had a vision telling him to take down the barn (Wilde, 1888).

Fairy rings are still found today although perhaps fewer people see the footsteps of the Fey in them, and more see the science of mycelium. In the spirit of tradition though it doesn't have to be one or the other but can both, in truth, and we can still see the enchantment and sacredness of the footsteps of the Good People in fairy rings without denying the knowledge of their natural cause. If you keep your eyes open and your sense sharp you may find a ring of dark grass or new grown mushrooms in your yard or the area you live in.
Although perhaps you'll think twice about stepping across its boundary.


References:
Bennett, M., (1991) Balquhidder Revisited: Fairylore in the Scottish highlands, 1690- 1990
Briggs, K., (1978) The Vanishing People
Gwyndaf, R., (1991) Fairylore: Memorates and legends from Welsh oral tradition
Mushroom Appreciation (2016). Fanciful Fairy Rings
Evans-Wentz (1911) The Fairy Faith in Celtic Countries
Wilde, E., (1888). Ancient Legends, Mystic Charms & Superstitions of Ireland

Hall, A., (2007). Elves in Anglo-Saxon England

Hartland, E., (1891). The Science of Fairy Tales

Excerpted from my book 'Fairies'

Folklore and Fiction in Modern Paganism

Irish/English Glossary of Common Terms

This post is meant to offer a selection of the common terms I use in Irish with their English translations, to help readers of my blog who may not have any Irish or who may find the use of Irish placenames, euphemisms for the Good Neighbours, and other miscellaneous words confusing. Hopefully this will offer a bit of clarity.


Aitainmneacha / Place Names

An Cheathru Chaol - Carrowkeel
Brú na Bóinne - Brugh na Boyne
Cnóbha - Knowth
Cnoc - hill
Connachta - Connacht
Cúigí na hÉireann - Provinces of Ireland
Dumha na nGiall - Mound of the Hostages
Laighin - Leinster
Lios - Ring fort, fairy mound
Mide - Meath
Mumhain - Munster
Ráth - Fort, ring fort
Sidhe - fairy mound
Sid in Broga - Newgrange
Sliabh na Caillighe - Loughcrew, literally 'mountain of the Cailleach'
Teamhair - Tara
Uaimh na gCat - Cave of Cats
Ulaidh - Ulster


Sofhroital na Sióga/ Euphemisms for Fairies

Aos Sidhe - People of the fairy hills
Bean Sidhe - fairy woman
Daoine Eile - Other People/ Other Crowd
Daoine Maithe - Good People
Daoine Sidhe - People of the fairy hills
Daoine Uaisle - Noble People
Fear sidhe - fairy man
Leannan Sidhe - fairy lover
na hUaisle - the Gentry
Tuathghinte - literally 'northwards people'


Go hilghneitheach/ Miscellaneous

Badb - name of a goddess also a term for a supernatural woman, witch, and crow
Bainne - milk
Banríon - Queen
Bantuaithech - old Irish term for a specific type of 'leftward' working witch
Bean feasa - wise woman
Cailleach - name of a goddess, also means crone, hag, witch
Caite - elf-struck
Conriocht - werewolf
Déithe - Gods
Draíodóir - wizard, enchanter
Draoi - magic user, druid
Gaeilge - Irish language
Iarlais - changeling
Im - butter
Piseog - charm, spell, also supersition
Rí - King
Sidhe gaoithe - fairy wind
Slua sidhe - Fairy host
Taibhse - ghost, spectre, phantom
Tromluí - incubus, nightmare

Pronunciations for all of these can be found below, thanks to Lora O'Brien who was kind enough to collaborate with me on this, after the idea of glossary was suggested on facebook

Discerning Good Source Material

One thing that's important for anyone who relies, to any degree, on sources outside themselves for spirituality - or anything else - is being able to judge a good source from a bad one. So today I want to just run down a quick list of ways to vett sources of any type to decide how much weight you should give to something. Even if a source isn't perfect it may have value - or it may be immediately tossed out. It depends on how it measures up.

1. What sources does this source use? - One of the first things I do with any new source, be it written, video, in person, or what-have-you, is to try to look at what sources that source is using. Are they talking purely from personal gnosis? Are they using academic texts? Are they using other authors based in personal gnosis? Are they using well known and respected sources? Are they referencing conspiracy theorists or known white supremacists? Do they have no sources at all that they admit to? All of these things need to be taken into account. Something that's entirely personal gnoses isn't necessarily bad but needs to be understood in that context, while something from a deeply flawed or problematic source will be eliminated. 
2. Never once the Wikipedia - Okay this is  bit ranty right here, but as soon as I see wikipedia listed as a source for anything I'm done with that source. There's a very good reason that wikipedia can't be used in college, university, or even high school classes: its notoriously unreliable and oddly biased. Anyone can and does edit wikipedia and while its true that wikipedia cites sources and includes references pretty much any print or online source can be used and there is no quality control. Let me repeat; there is no quality control. The entry on Baobhan Sithe was sourced mainly from modern vampire guides, themselves largely repeating modern urban legends, and from RPG guidebooks. No really. The entry on Finnbheara contained an assertion straight from a fiction novel (I removed it, because remember anyone can edit wikipedia). Please don't trust anything on wikipedia or any article using wiki as a source. Just don't. 
3. What is the author's bias? - Every author or teacher has biases, that's just human nature. Figuring out what to think of a source means understanding what that source's biases are and how that's affecting the material. A bias doesn't mean you can't use a source but that you have to be aware of the way the author's opinions influence their work. To use myself as an example - I am unashamedly nativist in my views of Irish mythology and folklore. Nativism is a bias that means I will always tend to see material as having some native Irish influence or value in it; anti-Nativist in contrast means that the author tends to always see foreign influences in any historic Irish material or mythology. Neither is necessarily provably correct or incorrect but both strongly influence a person's views. Authors can have all kinds of different biases and its helpful to just be aware of them or at least that bias is a possibility. Even a book that is aimed at sharing facts will still be influenced by the author's personal opinions and views. Be aware that bias is a thing and that it matters. 
4. Date - Another thing to consider is how old the source is, particularly for books and articles. Scholarship is always changing and evolving and when I was in school we were strongly encouraged to use material that had been written within the last 10 years and preferably within 5. That was in the field of psychology of course and in more casual study you don't need to be as strict with this but the core idea is the same, that older books tend to have ideas and theories that are more outdated. This doesn't mean the whole work is useless, just that it needs to be kept in context. For example I love the Fairy Faith in Celtic Countries and find it valuable for the anecdotal material - yet the material written by the author themself which waxes eloquent about fairies as Bronze age pygmy survivals in iron age Britain is clearly not only out dated but thoroughly disproven by actual archaeology and anthropology.  
5. Perspective - what perspective is this source speaking from? Is it being written by a member of the community? A believer? A non-believer? An outsider? A scholar? A laymen? Like bias the source's perspective on the material also needs to be understood in the context of its value, because someone who is part of a community writing about that community has a very different perspective than an outsider, and a scholar has a very different perspective than a laymen. Each voice can have value in a discussion, but we shouldn't forget where each one is speaking from. 
6. Non-fiction or fiction? - this may seem like an odd one, but I see a lot of blurred lines between these two in some cases, possibly because older folklore is often treated as fiction and so modern fiction is given the same weight as folklore. It's worth keeping in mind though that folklore represents stories that people believed to be true (as opposed to fairy tales, which are something else) while modern fiction is the work of imagination. How fine or thick a line there is between those two will be a matter of opinion, but it should at least be considered when weighing the value of a source, whether it was written as fiction or not.