I love being a morning person. I’m not one to sleep in past 6 a.m., even on the weekends, so I’m up and walking my dog, L’il T-Man, very early in the morning. Our first destination is the paupers’ graveyard near my home. It’s a treat to witness the dawn of a new day from the vantage point of standing in one of the commemorative concrete circles, each of which bears bronze plaques that honor a different demographic group buried on the premises (e.g., John Doe Civil War dead, John and Jane Doe victims of the 1871 Chicago Fire, Cook County Asylum for the Insane patients and their children, etc., over 38,000 total bodies).
And in the past 7 years of living in this far Northwest side Chicago neighborhood, the paupers’ graveyard has been my focal point of clean-up efforts every Earth Day. With today being the 50th Anniversary of Earth Day, and it being the Dark of the Moon at the time of this writing (the New Moon at 3° Taurus will occur tonight at 9:25 CDT), I am dedicating my clean-up efforts in a wider context of spiritual service to one of my Patron Deities, the ancient Anatolian-Greek Goddess, Hekate Khthonia (Hekate “From Inside the Earth”).
April is National Poetry Month. As a former college English instructor, a published poet, and an ordained Priestess, I honor the legacies of artists whose works have transcended the boundaries of their artistic mediums, and the vagaries of the times in which they lived, rippling out with profound spiritual force to affect so many people today. American poet Sylvia Plath (1932-1963) is such an artist who has had an incalculable effect upon my developing spiritual consciousness from my adolescence onwards; I go so far as to hail her in the ranks of my Mighty Dead, my spiritual forebears in Witchcraft.
Three years ago, I began to meditate on the idea of Plath’s poetry as a vehicle for encountering Dark Goddess energies and the need to harness those energies in a public Pagan ritual format. I knew I wanted to weave together the strands of my academic analysis of her work (I taught American poetry at the undergraduate level for 3 years as an adjunct English professor on Oahu), my Priestessing skills in generating energy and directing it towards a specific purpose to benefit a group of participants, and my own personal religious devotion to specific Dark Goddesses (e.g., Hekate, Nephthys, Hel). Art served as the medium of inspiration, as it often does: not just Plath’s poetry, but my artistic interpretations through acrylic paintings of some of Plath’s most famous works.
The following chronicles my process and its eventual public ritual outcome: an evening of tribute to Plath’s genius through the ritual encountering of Dark Goddess energy, recitals and discussions of Plath’s poetry, and a shamanic journey facilitated by the use of my 2017 painting An Homage to Sylvia Plath’s ‘The Moon and the Yew Tree’ as a portal into the Otherworld. My goal was to have ritual participants surrender to the “blackness and silence” of the Dark Goddess, as described in Plath’s inimitable voice, and experience the transformative gifts of the Shadow.
Supposedly, here in my home state of Illinois, the governor’s stay-at-home/self-quarantine order designed to curb the spread of COVID-19, an order issued on March 21, will be lifted on April 30: just in time for Beltane/May Day! Continue reading
In this era of social distancing amidst this pernicious COVID-19 global pandemic in which we find ourselves, focus on how your solitary spiritual practices can not just grow, but thrive. One helpful method of personal spiritual battery replenishment takes its cue from the swelling Traditional Witchcraft current in contemporary Paganism, whose tenets include, among other things, establishing a dynamic relationship with the spirits of your local landscape.
“The Devil is not so black as he is painted.” (16th-century French proverb)
This past Monday, January 20, my parents and I celebrated the highlight of the year in terms of Serbian Orthodox religious festivals: the slava, or feast day, of our family’s patron saint, John the Baptist. It’s a day when many ritual protocols have to be observed to ensure blessings on the family in the year ahead. This feast day is the third out of a three-day series where the focus is on the literal and spiritual washing away of winter’s miasma/spiritual impurity from people and their homes. Not surprisingly, blessed water plays an integral role in each day of the festival; the customs clearly attest to pre-Christian origins.
It’s not difficult to see the effects of this month’s heavy-hitting, powerfully transformative planetary transits and aspects given the alarming global news headlines. Australia’s incineration and the death of half a billion animal species so far. The build up of war between the US and Iran and the threat of a much larger conflagration in the wake of the drone missile assassination of Iranian Gen. Qassem Soleimani. Great Britain’s Brexit mess. Ongoing anti-authoritarian / mainland Chinese government protests in Hong Kong.
It’s a jarring time and it can certainly fill one with a sense of acute anxiety, despair, and hopelessness. It’s as if we’re living out the horrors of W.B. Yeats’ nightmare chillingly depicted in his 1919 poem, “The Second Coming”:
Things fall apart; the centre cannot hold,
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity. (lines 3-8)
Much of the chaos and confusion stems from the anticipated exact conjunction, slated for January 12, between structure-, law-, governmental-authority-oriented Saturn and Underworld-rooted, power-conscious, death-and-rebirth preoccupied Pluto. This conjunction is certainly a show-stopper on its own, but there’s actually a quadruple conjunction of planets in Capricorn happening on January 12, two days after a Cancer full moon eclipse! The scope of our narrative broadens. Journey with me into our space-time continuum, won’t you?
Happy New Year and may this new decade bring vibrant health, joy, prosperity, and love to us all! Per my time-honored tradition, before commencing my revels last night I sat in silent contemplation, reviewing my notes on the yearly forecast Tarot reading I did for 2019 to gauge my accuracy and then doing my reading for myself for this year.
It isn’t often that celebrated Reclaiming and Feri Tradition Witch, published author, and artist Gede Parma, who also uses the name Fio Aengus Santika, comes to the United States, but when they* do, it’s always a reason to celebrate! I have had the pleasure of sharing heart-centric ritual space in Traditional Witchcraft contexts with Fio during their last two Chicago visits in 2014 and 2017, respectively. They are a highly dynamic ritual facilitator and conductor of spirits. I’ve always left their workshops and delightful time spent socializing feeling elevated and transformed for the better afterwards.
I was ridiculously productive in the sweltering Chicago heat yesterday, making no less than 14 gemstone beaded necklaces in the span of an 8-hour workday; 12 necklaces have since been listed for sale on my Etsy site, JackalMoonDesigns. From devotional pieces intended to honor Deities across a swath of pantheons (Celtic, Kemetic, Hellenic) to my new and expanding line of Spirit Animals to more standard occult fare, there’s truly something for everyone in this diverse lot!
It was during an AMA on Reddit 13 months ago that American writer and director Ari Aster first announced that Midsommar would be the title of his next film and he was hoping to release it on Midsummer’s Day of 2019. He teased at its folk horror genre classification, revealing that Roman Polanski’s Macbeth (1968) and Robin Hardy’s The Wicker Man (1973)—which, incidentally, happen to be two of my all-time favorite films—served as Midsommar’s two biggest cinematic influences. I was ecstatic upon hearing this news.
Coming hot on the heels of his powerful and bold 2018 debut film, Hereditary (you can read my review of it here), the bar for my expectations was set very, very high. I wanted to love Midsommar—I truly did. Unfortunately, though, in sharp contrast to the undoubtedly flavorful hallucinogenic teas consumed by the characters in the world of Midsommar, the film came across as grossly insipid to me. Far from elevating the folk horror (sub)genre, as one reviewer gushed, Midsommar flattened it, rendered it as non-engaging and as uninspiring as pieces of disassembled IKEA furniture spilled out of their cardboard box.
Worse, I worry about the potential social ramifications of backlash against Pagan communities in the U.S. and in Europe—when we’re not fighting for our rights to (re)claim ancient sacred sites for contemporary religious worship from countries where Abrahamic monotheism strongly imprints the laws of the land (look at the situation in Greece, for example), we’re constantly trying to disprove to our secular and monotheist- majority neighbors that any connotations exist between our autonomous, fragmented communities and established “cults.” The disturbing kinds of cults—Jim Jonesesque, Peoples’ Temple-congregants-offing-themselves-by-the- hundreds-in-remote-Guyana kinds of cults. In that regard, this film doesn’t exactly serve as a brand ambassador for contemporary Western (Neo-)Paganism.
Warning: My review is rife with plot spoilers!