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Lee Morgan has delivered a corker of a first book; easily read, engaging, intriguing, poetic and deep. I have no hesitation in recommending it highly. Lee is clear in her intention:

It is my aim to make the practical implications of this [new] witchcraft scholarship available through the lens of my own occult experience, namely in Traditional Witchcraft.

Since of course there is precious little evidence that any traditional religious Witchcraft existed in pre-modern Europe, this is an interesting intention. Witchcraft has been, and remains for the majority a word for malefic magic and practice. Folk did not self-identify as ‘witches’, much less as Pagan-religious Witches, until the early 20th century. Lee is able to accommodate this academic consensus within a practical book on traditional Witch methods and world-views by her own subtle and deep poetic vision, obviously borne out of years of profound and even troublesome experience.

To access what some people call the ‘tradition’ of witchcraft we need to first understand that witchcraft as we know it is a myth. But this is no to say it doesn’t exist. The ‘nameless deed’ that lies behind that myth is part of the eternal nature of mankind.

This identification with the myth of Witchcraft is what enables this book to do its work. The reader becomes aware very early on that Lee is poet as well as a Witch, and her poetic vision shines throughout her words and practices. Ronald Hutton draws similar attention to Starhawk’s poetic nature – “The tendency of The Spiral Dance was not to explain or to instruct so much as to intoxicate”. So too with A Deed Without a Name; it is a wonderful journey into and through a consciously embraced myth. Yet, like The Spiral Dance, there is also practical instruction in the book, and more invitations to the reader to produce their own works. Indeed, Lee Morgan may well do for Traditonal Witchcraft what Starhawk did for feminist Wicca.

Lee consciously uses the term Witchcraft as a means of opening up the ‘possibility of a brotherhood of the Other’ – the fey folk, those shunned because of innate connections with the Otherworld or the dead, those destined to be marked by the Gods or dragged into the Underworld for service. In this she gives a valuable service to these folk who often find no place in non-traditional or New Age spirituality, or even magical groups that should know better.

Lee Morgan

One of the criticisms I have seen levelled at the book is that it is too sparse in detail and specifics on its many topics. Personally, I think this scarcity is a strength and it is obvious that Lee knows, on many levels, what she is writing about.  The introductory nature of the chapters allows the reader to be motivated and inspired, but does not provide enough information for the rash idiot percentage to wander off fully armed, or so they think, and get themselves and others in deep trouble. True, most clinical psychologists would hate this book to be read by their schizophrenic patients, but most occultists will laud its careful revealing and the constant reminders of the need for protection and mental integration.

Lee ranges widely with an eye for synthesis, drawing on British, Italian, Grecian, Irish, Norse, western occult and even Hoodo for her work. She makes links between trial records of the Early Modern Witch-hunt across continents and incorporates current academic thinking into her myth and practice. There are chapters and sections on cosmology, links with ‘shamanism’, Witch pacts, ontology, Imps, entering the Otherworlds, the Dead, Faery folk, ritual space, exorcism and a lovely Bestiary too.

There is much in the book that obviously stems from Lee’s own experiences and tradition, lore, story and cosmology. As said, Lee knows her stuff. Take this example from the chapter ‘Riding Plants’, concerned with the use of herbs and plant drugs, where Lee is at pains to spell out the importance of the Witches’ correct relationship with the spirit of the plant:

But due partially to the modern drug culture, very few people are able to look at entheogens (I use this term rather than hallucinogens because it suggests their sacred function) in anything other than a materialist and consumerist manner. They look at the plants (marijuana or ‘magic mushrooms’) like a product that they can get some fun sensation out of. Instead, if one wishes to cultivate ‘plant familiars’ and learn to ‘ride plants’ it would be better to master the art of ‘riding’ those that don’t have such potent inner fire, the non entheogens. The spirits of these plants are not so powerful and less likely to end up riding you!

Her discussions on the dead, the fetch-mate, the triad of the Witch, the place and the Otherworld and other areas are all real, solid and full of traditional lore. Personally, I do not think this was ever, until very recently called ‘witchcraft’, but it is the same ‘deed without a name’ regardless.

Like the mythic hedge-crosser, the journeyman between our world and the Otherworld, so well discussed by Lee, this book attempts to span two worlds – the mythic and the scholarly. Because of my limited knowledge I am not sure how well it does this. Lee brings in academic references at some points, but forgoes them when they are needed elsewhere. I would love to have seen references used more freely. But, then again, it is not an academic work…

Lee’s Blog (click for awesome)

Another personal bug-bear is the subtle decrying of Christianity, for example as ‘flesh-hating’. Lee is wise enough to know one cannot talk about Christianity in any homogenous way at all, and that some Christianities may be like this, but not all, and that the ultimate mystery and truth of Christianity is centred on the holiness of the flesh, as it there where we partake of the mystery of Christ.  I’ve talked about this before.

Similarly, I think on one or two occasions Lee does not do the western occult traditions justice. In good wise-woman, or depending on your view, Witch, fashion she is not above using elements of western occultism in her correspondences and Necromantic rite whilst declaring them earlier as have a less complex, and by implication a reductive, view of the inner world and beings thereof. Lee’s criticisms of occultists lumping various interior beings and parts of the self as ‘aspects of the higher self’ may be true of western magicians of her acquaintance, but certainly not of mine, or any of the modern authorities on the subject.

Still these are minor, personal concerns which few else would share. So I have no hesitation in giving this lovely book – which reproduced very well on the  iPad Kindle app – a hearty vote of approval. It is highly recommended for any and all interested in Witchcraft in any form.

A Deed Without a Name: Unearthing the Legacy of Traditional Witchcraft  by Lee Morgan.

Amazon | Amazon UK | Book Depository | Moon Books

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9781906958503_picRosaleen Norton died over thirty years ago but remains a strong and powerful presence within the Australian magical community. Her art, hardly commercially successful in its day, still produces the same potent resonance and awareness of the otherworld as it did at her zenith. And Pan’s Daughter by Nevill Drury remains the only meaningful study not simply of her life, but also her magical life. It is therefore a delight to read a revised and expanded version of this wonderful book.

To be an honest reviewer, I was pretty sure I’d enjoy the new edition, having loved the first, published back in 1988, less than a decade after Norton’s death. Now thirty years on, the story of her life, her unique magical unfolding and otherworldly yet visceral art is as relevant and as interesting as ever. Only recently I heard two more tales of ‘Roie’, as Norton was affectionately known; tales that seek to cast the teller with some of the magic and power inherent in this amazing woman.

Pan’s Daughter is superb as it traces the simple threads of Norton’s life to give us a rounded background before focusing squarely on several key themes: sexuality, art, the otherworld and magic. In none of these areas was Norton bound or confined by the thought and theories of the day. She was largely self-created and self-determined, in relationship with her Gods, who she saw as distinctly real, but again within a unique magical cosmology. Yet, as Drury simply and deeply reveals, Norton was not rebelling, as many faux pretenders and rich kids of the 60s and 70s were to do. She was simply unfolding into who she really was.

Drury’s writing is engaging and lucid, and his approach to a person who is complex and still surrounded with an aura of diabolism is sympathetic and reasoned. Drawing on decades of experience in the art world, publishing and magical writing, Drury gives background and expertise to help the reader enter the magical world of Norton. He also places her life in the context and stream of two important traditions of modern magic, one which came before Norton and one emerging at the time of her death – sex magic and modern Women’s Mysteries. These themes he explores in two excellent appendices, which are worthy of publication in their own right.

Drury shows how Norton, an ‘unconventional’ child with a ‘flair for disobedience’, was always moved by her own lights. She slept in a tent in the family garden, befriending spiders and other creatures who entered her domain. While still in her teens she starting developing the style of dark and powerful, somewhat macabre art that would become her hallmark, and later bring her before the courts on a charge of obscenity. In her 20s and 30s Norton was strongly influenced by her reading of Aleister Crowley, Dion Fortune and other writers in the magical tradition. The impact of this study, and the immense inner awakening it produced in Norton led a reviewer to describe her as having:

…developed a most exceptional ability to actually enter the psychic sphere, to transport her personality to other planes than the physical one, and to sensually perceive that which, to most of us, remains for ever hidden (p.39).

Drury however, does not simply describe Norton’s magical art, her reviews, or art, or even simply recount her own words. He presents all of these, places them in context, gives an interpretative framework and allows the reader to discern for herself just what an amazing psychic visionary and artist Norton was. This is one of the great strengths of the book: its ability to reveal the depth and power of Norton without imposing a meta-interpretation. Chapters each on trance journeys, Norton’s cosmology, group magic, sex magic and transformation within the inner realms all display this quality and skill. It was well appreciated.

It should be noted here that Drury gives extended pieces of Norton’s own words, describing her unique and powerful magical cosmology and ontology. This is actually quite incredible:

This extraordinary account of utilising altered states of consciousness to access the magical universe is one of the most lucid descriptions of its type that I have come across. One needs to remember this text was written in 1949, long before such topics as meditation, visualisation and ‘consciousness expansion’ became popular in the late 1960s’ counter-culture (p. 66).

Anyone, any magician or modern Pagan who takes time to read these notes will be enriched. There is a lot here, much which has never been overtaken or supplanted. Nor, as Drury elucidates was this magical work simply a means of producing ‘trance-art’ as it is called nowadays:

Like a traditional Shaman, accessing mythic realms of awareness while in a state of consciously willed dissociation, Norton was endeavouring to transcend the barrier of physical death through her inner plane encounters. (p.68).

http://upload.wikimedia.org/wikipedia/en/thumb/b/b3/Roie.jpg/432px-Roie.jpg

Rosaleen Norton

Norton’s artwork, lifestyle, and sexual magic brought her into conflict several times with the Australian police and authorities. This was an Australia still heavily conservative and restricted, before Oz magazine and the hippy awakening. While I would love to see a more detailed and extended study of Norton’s sexuality and sex magic, Drury delivers the goods in this expanded version. There is a comprehensive, informed and detailed study of Norton’s sexual magic and its manifestations. Owners of the first edition will be well rewarded for purchasing this edition for this section alone. Drury is well placed to review this material and its place in the sexual magic stream of the western tradition. And he does so admirably.

Drury also shows his acumen in reviewing the material concerning Norton in Doreen Valiente’s The Rebirth of Witchcraft. Valiente was informed about Norton by Leslie Roberts, a journalist who visited Norton in 1959. Rather than accepting some things, such as putative passages from Norton’s own Witchcraft liturgy and supposed connection to Celtic traditions, Drury analyses the material, based on Norton’s own distinctive style and spiritual connections. He suggests the passages are unlikely to be Norton’s own compositions, having a likely ‘British origin’ and concludes:

…Norton’s ritual practice … indicate[s] that she was more influenced by the magic of the Hermetic Order of the Golden Dawn and Thelema than by Celtic tradition. (p173).

Norton’s own compositions are as deep as they are evocative, and Drury includes a few such as this one, written to accompany her controversial drawing ‘Black Magic’, which begins:

Light’s Black Majesty : Midnight Sun: Lord of the wild and

living stars:

Soul of Magic and master of Death;

Panther of Night… enfold me.

Take me, dark Shining One; mingle my being with you,

Prowl in my spirit with deep purring joy

Live in me, giver of terror and ecstasy

Touch me with tongues of black fire. (p.144-45).

Overall this is a very rewarding and well composed work. Its production values are great, the index really useable and helpful and the copious reproductions of Norton’s art, a joy. The only slight concern I had was the name given to Norton throughout the text. Some sections, whole chapters, address her using the familiar and warm ‘Roie’ nickname, other chapters as ‘Norton’. This was a bit distracting and may show a pastiche of previously composed essays. Not that there’s anything wrong with that. It was a very minor thing in the scope and sweep of a lovely, engaging and expert work. This is a must have volume for all people – Australians and others – interested in Rosaleen Norton or the manifestation of the magical tradition through individuals rather than groups. It is highly recommended.

Pan’s Daughter: The Magical World of Rosaleen Norton by Nevill Drury. Mandrake of Oxford. 2013.

Purchase from: Mandrake | Amazon | Book Depository

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I am terribly busy at present, hence the paucity of MOTO posts. However, Caroline Tully’s excellent interview of Prof Ronald Hutton (previous post) and some subsequent reactions have moved me to pen this quick, personal piece.

Despite the occasional burst of negativity and misinformed spite chucked at Prof Hutton, he remains a figure of respect and admiration in most pagan and Wiccan circles, at least in the UK. Why? Because he is a great supporter of the Pagan movement, having helped progressed its field of study into legitimacy within academia, placing it alongside the other world religions. He has defended pagans in court and helped official recognition of the pagan religions by the various UK authorities. And, of course he provided the first comprehensive history of Wicca, Triumph of the Moon, giving Wiccans a history and showing their place in the religious scheme of things.

It is important to note that the subtitle to this wonderful book is “a history of modern pagan witchcraft” not “the history”. Hutton’s assistance to and introduction of  works by amateur Wiccan historians, like Philip Hesleton, shows he is more than ready to read and accept other histories than his own. This is the mark of the true academic and the true scholar.

Hutton’s work lives and breathes a rare combination of accurate and scholarly accepted method and engagement of the lay audience. Those who have not read much academic work may not realize just how rare this is. Another of my favourite academics, Bart D. Ehrman, sums it up: “most academics, just don’t know how to talk to real people”.

Whilst there have been occasional snipes at Prof Hutton’s academic qualifications and the Academy itself, I have to say I am impressed by his qualifications. I am impressed by his full membership of learned societies. I am impressed by his list of refereed articles and books.

I have only an undergraduate degree but have helped edit friends’ MA and PhD theses. Successfully obtaining a doctorate is impressive. Period. And those of us accustomed to bashing out a new blog post before bed may have little idea what researching, writing, submitting, editing, correcting and finally publishing a refereed article means. It is no small accomplishment in itself.

Finally, those people who see Prof Hutton as attacking paganism and Wicca, or even being a Christian sent in to undermine and destroy it, must by now be being willfully ignorant. Read his own words, his own motivations for study and writing. Caroline has done a lovely job in getting this all accessible and easy. The facts are clear: Hutton’s work is supportive of paganism and Wicca. He is supportive of Paganism and Wicca.

A personal anecdote may help me express this better. I first read Triumph of the Moon shortly after it was released during a weekend away from my young son. I did little else besides, practice, pray and read that glorious weekend. Hutton showed clearly what I always knew, and had argued since 1989: Wicca had no direct lineage connection to either medieval Witchcraft or any mythic pre-historic duo-theistic paganism.

At the time of my reading I was more involved in paganism than I am now, and still within a leadership role of EarthDreaming Coven. However, Hutton’s painstakingly outlined history did not detract or hinder my pagan practice or “faith” but rather enhanced it. I remember clearly reading a passage from chapter 14, where Hutton reviews the popular fiction of Rosemary Sutcliffe as a “compelling fusion” of the imagined pagan histories of Frazer, Graves and Murray:

During the last three decades of the twentieth century, many individuals who adopted a self-consciously Pagan identity said that to do so felt like coming home. Perhaps this was due to memories of past lives, or acknowledgement of long-established contacts with the divine, or simply the discovery of a spirituality which perfectly corresponded to their own instincts and needs. It is also, however, possible that much of this feeling was due to the fact that such people had spent their youth reading books of the sort described above.

As I read this I was startled. As a kid I had read Sutcliffe, just as Hutton described. As this sank in, time stopped, I disappeared and entered the Eternal. The book was gone, the concepts were gone, I was gone, there was simply Goddess.

Afterwards, I realized this experience had opened me not to despair or questioning my pagan spiritual connections, but to the realization that I was practicing a true and bone fide religion of the modern era. The divine was real and solid and Wicca was the perfect modern approach to this Mystery. Wicca was, as Hutton describes, formed by modern people to express modern myth, real, beautiful and transformational myth. I was touched in the literary sphere by the myth as a child, and now as an adult I was embracing it in the religious sphere. The myth may be historically inaccurate, but it is true.

Goddess moves in many ways, even through the Oxford University Press :)

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I don’t normally use MOTO for simple linking, but for those who have not seen this Interview with Professor Ronald Hutton on the excellent Necropolis Now  blog, you really should scoot on over and have a read. I first bumped into the the blog’s author, Caroline Tully back in the early 90s as part of the consolidating Pagan/Magical community in Australia. Even back then she was a cut above most of the writers on the subject, and she displays admirable and deft interviewing skill in this post, keeping the subject on track with perceptive questioning. Caroline’s various articles are always worth reading and she is ‘one to watch’ for future publications :)

Anyway, the full interview is here: Excerpt below :)

If modern Pagan witches do not represent a continuation of a religion that survived the Witch Hunts and can be traced back to the pre-Christian era, then what is our lineage?

Most notably in a chapter in a collection entitled Paganism Today, published in 1996, I have taken direct issue with the view generally held by academics that there were no links between ancient and modern paganism at all. In reply I identified no less than four cultural streams which connected the two: ritual magic, cunning craft, folk rites, and (above all) the persistent love affair of Christian culture with the art and literature of the ancient world. All these streams of images and ideas were, certainly, maintained between the early medieval and modern periods by people who were at least nominally Christian, but none the less they were preserved. The great development of the modern age was for them to be filtered back out of general Christian culture and recombined with an active allegiance to pagan deities to produce a revived and viable set of Pagan religions. This essay in Paganism Today was my manifesto for Triumph of the Moon and intended to be read in conjunction with it, which in Britain it certainly often was. Abroad, however, the essay tended to be unknown and the book read outside of its vital context.

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Here is another reproduction from the Simon Goodman collection, which may or may not be interesting or useful. But at least it’s out there, not slowly succumbing to oxidation within a library vault :) As with the last post, I am unsure of the claim for this ritual to stem from the “Middle 1800′s”. This is mainly because of the Triple Goddess motif within it, something that most modern scholars would say was not at all very common back then.

This ritual, like others which I will get around to reproducing eventually, stem from a well known magical writer who discovered a village somewhere in the UK where old pagan rituals and customs were still practised by the populace. Indeed, the village society itself was pagan and organised around the pagan year and customs. At the time the notes were gathered (mid-late 80s), the village’s pagan ways were dying and in decline. In order to preserve their basic beliefs and practices, the village elders authorised limited exposure of their beliefs and customs to magical folk. Hence these notes which are from a secret workshop for pagan leaders led by the magical writer involved with the village.

Now of course, sceptical or suspicious folk like me will be thinking of stories like the Wicker Man, Children of the Stones and Greenmantle – such is appeal of the theme of a pagan/magical village holding on to ways both ancient and arcane amidst a corrupt and magic-less modern world. I think there was even a Dr Who episode that incorporated it. Ever since I first read this material, which is very interesting in any by itself, I have not quite accepted its veracity and not quite rejected it. This is mainly due to the standing and reputation of the magical writer in question. I do find the whole village thing a bit hard to swallow, especially when we remember this has been used before by several writers to frame modern creations as traditional material (West Country Wicca by one time Perth resident ‘Rhiannon Ryall‘ comes immediately to mind). But, ‘true’ or not, the rituals themselves and the description of the pagan nature of the village are wonderful. Enjoy :)

I have kept as much as possible to the layout in the original document.

CASTING THE DANCING FLOOR Middle 1800’s.

MAIDEN    WIFE     HAG

BROOM    CUP    TORCH

All approach the place in single file, walking through the wood, singing and chanting. The sacred three at last.

When the place is reached, all make a circle with MAIDEN, WIFE AND HAG in centre, each carrying their symbol.

They dance around the circle once, then WIFE and HAG stand in the centre while MAIDEN goes to the NORTH holding BROOM in both hands over her head. She bows, then starting at NORTH, she sweeps out from the centre to outer circle.

MAIDEN AT EAST:

Out, out, all Laziness and sloth

Out, out, all Untidiness and dirt.

MAIDEN AT SOUTH

Out, out, all  Harsh words and wrath.

Out, out, all  Hatred and envy.

MAIDEN AT WEST

Out, out, all Shyness and lies.

Out, out, all Falseness and wiles.

MAIDEN AT NORTH

Out, out, all Bareness and death.

Out, out, all Evil and decay.

Returns to centre.

WIFE with CUP goes to Altar and bows. Fills CUP with Pure water and Salt. Starts at North and goes to EAST.

WIFE AT EAST

Fill up, fill up With energy and breath.

Fill up, fill up  With cleanliness and care.

FLINGS WATER

WIFE AT SOUTH

Fill up, fill up With sweet words of love.

Fill up, fill up With friendship and joy.

FLINGS WATER

WIFE AT WEST

Fill up, fill up With clear sight and truth.

Fill up, fill up With courage and good heart.

FLINGS WATER

WIFE AT NORTH

Fill up, fill up With fertile life.

Fill up, fill up With goodness and rebirth.

FLINGS WATER

HAG with TORCH goes to NORTH and bows. Waves FIRE over NORTH, moves to EAST.

HAG  AT EAST

Be charged, be charged with Light and life.

Be charged, be charged with Lusty vigour.

WAVES FIRE OVER EAST.

HAG AT SOUTH

Be charged, be charged with Dance and music.

Be charged, be charged with Wine and ale.

WAVES FIRE OVER SOUTH.

HAG AT WEST

Be charged, be charged with Harmony and gladness.

Be charged, be charged with Song and mirth.

WAVES FIRE OVER WEST.

HAG AT NORTH

Be charged, be charged with Eternal happiness.

Be charged, be charged with Eternal life.

WAVES FIRE OVER NORTH.

Returns to circle.

HAG and MAIDEN make arch with BROOM and TORCH

WIFE waits with CUP – (now refilled with Wine.)

WIFE (Beckons to FIRST MAN)

Welcome Sirrah with a kiss!

He drinks, kisses her, then between them they bring all others into circle.


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