An Audience with Christina Oakley Harrington

I was fortunate to catch up with the wonderful Christina Oakley Harrington while at Treadwell’s Books for my second Psychogeography workshop.

Christina is Treadwell’s founder and presiding spirit. She was voraciously interested in spirituality and magic since childhood, and grew up in West Africa, Burma, and Chile, only moving to the West at the age of 15. In her early twenties she was heartened to discover Europe’s own native religious traditions, and has been a pagan ever since. A former academic, she left university life in 2001 to establish Treadwell’s. These days she serves as a consultant for programmes and projects but is usually at the shop somewhere during the week.

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Christina presents Golden Dawn magician Florence Farr

Here you can listen to the conversation that Christina and I had which ranges across the subjects of women in magic, the importance (or not) of visualization, the use of mescaline in witchcraft, the feminist history of psychedelics, post-modern (or metamodernist) magical paradigms and other stuff!

Enjoy!

Julian Vayne

Swimming in a Sea of Black Light

“The passing from the “black light”’ from the “luminous night”, to the brilliance of the emerald vision will be a sign…of the completed growth of the subtle organism, the “resurrection body” hidden in the physical body.”

Henry Corbin The Man of Light in Iranian Sufism

To bring work with the body into the magical circle almost always entails risk. Those neat, finely honed borders that we think we have constructed within our minds are threatened by dissolution when we dare to dance, move and touch. Our attempts to manage the raw heart of emotion via the brute force of cognition feel fragile and dusty when our magic asks that we tune in to where the weight of life sits in the body.

Documenting life below the surface

Tidal forces

Whether our emotions are connected to joy or grief so many of us dump portions of these experiences into the unconscious due to the threat of feeling overwhelmed. When faced with the terrifying flood of these tidal forces, we often disconnect in order to survive. While such a strategy provides us with a valid short-term solution, most of us know that at a deeper level attempts to suppress or even deny can ultimately endanger our health. As magicians seeking to engage with the body, our work allows us the realization that however our clever minds might seek to dodge the impacts of life, our flesh and frame are persistent in pursuing the alchemy of feeling and processing.

My own journey into this territory has taken a number of different forms over the past 40 years-Hatha Yoga as an adventurous 10 year old, Holy Ghost writhing as a petulant teenage Pentecostal and the Shamanic dance/shaking of my current Queer-Gnostic Witchcraft. Beyond my sometimes tortured attempts to capture certainty via belief and communal belonging, I found myself returning again and again to a magic in and through my body. My connection to these methods feels located in their ability to express something that felt both profoundly visceral and immanent, while allowing my sense of self to open to an otherness that I often experience as alien and transcendent. Beyond the occultural expectations to know more and to authenticate my chosen path, the Magic that I find myself doing is one in which the messages of deep intuition are felt as much as thought.

Over the last 6 months I have been making some tentative explorations of various Martial Arts and in addition to the new challenges that this has provided both socially and kinetically, it also catalysed a process of reflection about masculinity and my own experience of grief. While I had been somewhat familiar with western sword fencing and Yang style Tai Chi, these recent forays into Kick-Boxing and Krav Maga caused me to ponder the way in which I used my body to attack and defend in a dojo or gym that predominantly in habited by male-identified humans.

In thinking and writing a lot recently about the experiences of Queerness and androgyny, I started to ponder whether my explorations of Martial Arts were an attempt to explore the expressions of masculinity that I often experience as difficult. From previous experience I knew that such explorations would be challenging for me, but I was unprepared for how they would affect me when, after a short-illness, my Dad passed away.

Grief can do many things to us, but I was truly unprepared for how the engagement in body work via Martial Arts proved to be far too much for me in the midst of such a profound loss. Grief can take on many forms, but for me it felt as though I was carrying around a concrete block that I simply wasn’t ready to put down. In talking with friends (especially those who had lost a parent), I am aware of how complex the process is of making sense of who this person was and is to you following their physical death. This process of internalising his image and memory within me demanded a degree of energy that required quiet incubation rather than an energetic surging outwards.

My experience of loss hit me at a profoundly somatic level and I would often find myself staring off into space as my body tried to manage the waves of tiredness that washed over me. Emotion inevitably found expression through my body: slow stretches and shadow boxing providing a way to connect to the complex amalgam of gratitude and sadness that I feel.

My work with the body is allowing me to swim in the black light of grief. Lessons from surfing provide rich material as I try to make sense of what the heck is going on. Often when held down by the impact of a wave, we can become overwhelmed by panic as we struggle to know which way is up and we are all too aware that we are running out of air. The key in such situations is to relax as much as possible so that with eyes open you can see the direction of light once the waves force has passed. So this is what I’m doing: letting myself feel what I’m feeling, trying not to force myself to struggle against the weight of what has happened. I keep tuning into my body because my training and experience have taught me that it so often the best barometer for where I need to be and the form of self-care I need to invest in.

Steve Dee

 

The Hardcore Bard

“Do you know yourself, do you know the others? Can you pull the weight that rides on another’s shoulders? Once you’ve lost yourself to the acceptance mask, well could you find yourself, it’s not a simple task. Self-inherence, freedom. Comes from within.  Take a different track. It’s time to see what you are made of. Can you expose yourself? Can you peel away another  layer? Will you make the time, the time to take control? Because only you can save yourself, only you can save your soul….come on, can you let go, can you, be you?”

Caboose by Snapcase (1997 Victory Records)

One of the criticisms that I often hear levelled at Druidry as a path is that it’s a bit polite! Having spent a fair amount of time hanging out with Chaos magicians, Thelemites and Left-Hand Path folks, when I discuss my connection to the Druid path, the question is often asked about what it has to offer in terms of methodology beyond its very public rituals and solar orientated aesthetics. In circles where darkness, intensity and the spilling of bodily fluids are potential measures of commitment, it could be easy to dismiss Druidry as being overly ordered and lacking in changed focused techniques. In my view such a reading is superficial and fails to account for subtle currents of inspiration that allow for a slower more sustainable form of personal evolution.

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A Hardcore Bard at Work

While works such as Ronald Hutton’s excellent The Druids highlight the struggle that modern Druids might have in uncovering what their ancient forebears actually did, we still have a rich body of both Celtic lore and the last two to three hundred years of reconstruction to draw from. While some may look down on the pseudo-masonic and Christian influence on the Druid revival, I personally feel that it holds some truly rich examples of the human spirit seeking to explore Mystery beyond the confines of the prevailing religious orthodoxies.

One of the aspects that I love in most forms of reconstituted modern Druidry is the way in which the grades of Bard, Ovate and Druid are seen as interacting with each other. While most contemporary Druids view these roles as being a progressive hierarchy, it is important to acknowledge that some present-day adherents elect to remain as a Bard or Seer (Ovate) if they feel that this best captures their calling. For me the adoption of this three-fold scheme is less about moving through a stage in order to reach the next level, and more about an essential group of experiences that make the stage of the journey possible.

The work of the Bard often involves a reconnection to the spirit of creativity. The three drops of inspiration (Awen) that Gwion Bach ingested from Cerridwen’s cauldron, catalysed a process of alchemical change in which he eventually became the great poet Taliesin. Gwion’s transformation was far from easy as he was forced to adopt multiple animal and even vegetable forms in order to escape the pursuit of the dark Goddess in the form of Cerridwen.

The process of re-contacting our inspiration and creativity often involves a descent into the roots of our unconscious. Without this journey into the rich loam of our dark dimensions, our art and creativity risks a thinness that robs our work of its true magical potential. As I considered in my last post, we need to utilize the mirror as a tool for self-examination in meeting the challenge to “Know Thyself!” Our dreams need to be attended to and I have gained much benefit in revisiting old magical journals in order to comprehend the repeating patterns and ideas that revealed the deep drives that were shaping my magic.

In thinking about Bardic inspiration one could easily lapse into the stereotype of a harp-strumming longhair wandering through sun-dappled forests. As awesome and evocative as such images are, my own reconnection to Awen took a far noisier form. Dear reader I confess that I was a childhood metal head and that my own desire for increasing musical heaviness drove me into the sweaty tattooed arms of hardcore punk.

Any attempt to define musical genres will always be fraught with purism and border skirmishes, but broadly speaking, hardcore Punk (especially in its North American form) tends to integrate the rebellion and aesthetics of Punk while also capturing the heaviness and speed of more extreme Metal. Alongside its distinctive musical style, Hardcore often sought to convey a message of positivity, self-actualization and a desire to question societal norms regarding the food we eat, the drugs that we take and the things we consume.

Within the world of Hardcore, themes connected to the spiritual search are rarely far below the surface. Whether in the Heathen brutality of bands such as Neurosis or the Krishna-based longings of Shelter or 108, the desire to find both discipline and vision have driven artists down some intriguing by-roads.

As with any musical movement advocating change, there is often a distance between these ideals and the actual scene that espoused these goals. Although Queercore and the Riot Grrrl movements have gone some way in challenging the homophobia and misogyny within the Hardcore scene, it would be naïve to deny their presence. At it’s best however bands such as Fugazi, Quicksand and Neurosis have been able to maintain integrity and the evolution of their musical sound.

Each of us will have our own aesthetic styles and artistic media from which we can draw the waters’ of inspiration. As much as I love musical heaviness, regular readers of this blog will also be aware of my passion for both dance and Surrealist visual art. What feels important is that we give ourselves permission to embrace a holism in which the sacredness of all things is allowed to disrupt any secular/spiritual dualism. For me as a Postmodern Bard, my own journey to find inspiration, vision and discipline has enabled me to appreciate the way in which Hardcore at its best embodies these qualities and plays an important role in sustaining the flame of alchemical transformation.

I’ll end with some with some great lyrics from the Neurosis’ track “Burn”:

“You lie in the snow, cold but not dead
Stare into the sun, long since its last heat

Feel the freeze burn skin
Salt your open wounds
A burning desire clears your eyes
A willful air fills your lungs

You choke your first breath of wildfire and oceans depth
Climb out of your hole, see your spirit take form

This world of cold stone gives nothing in return
To those who sleep while the restless burn
There are those few driven to flame
Most are content to drown in the wake of dreams

The trail lies overgrown
Across the years fade out of light
Ever growing dim to an age in the dark
Grasp from your soul and don’t let them steal your eyes”

From The Eye of Every Storm  Neurot Recordings 2004

Steve Dee

Natural or Artificial Psychedelics – Which are Best?

As promised in a previous post I’m going to try adding a few videos in which I explore particular subjects. These are unscripted and so inevitably I think of extra stuff to say once I press ‘stop’. This one presents as few thoughts about the relationship between natural and artificial psychedelics, and an exploration of where we consider the limits of nature and culture to be.

And a few extra points…

One additional thought is that there is now a vast range of laboratory synthesized chemicals (mostly still uncommon enough that they don’t have well established street names). Subtle variations in their effects was one of the things that inspired Alexander Shulgin to explore various ways of tweaking the phenethylamines (MDMA, 2CI, 2CB etc) and the tryptamines (LSD, A-LAD,  5-MeO-DiPT etc). As we gather more data about these substances, and as clinical exploration continues, we will hopefully gain a much deeper understanding of the pharmacology of psychedelic space. The complex relationship between molecular shape and subjective effects is subtle indeed. Reading Shulgins’ work it’s fascinating to learn how tiny changes in molecular structure can significantly change the activity, dosage range, duration and subjective experience of substances that maintain a common set of chemical characteristics. There is perhaps something of an analogy with smell here, in that just because two molecules look structurally similar does not necessarily mean they smell the same. Smell appears to be a process where the Newtonian ‘shape’ of molecules is one factor along with the fuzzy complexity of quantum biology. (You can also check out some of the fine grain psychopharmacological theory about psychedelics in this fascinating presentation by Thomas Ray at Breaking Convention 2017.)

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Shamanic journey

Having access to this range of psychedelics means we can explore the potentials of this space, and that’s what humans do. Our ancestors discovered the chemical key that unlocked the DMT in Psychotria viridis and rendered it orally active. They invented ayahuasca. The work of Hofmann, Shulgin, Manske, Nichols et al. is part of this lineage, this tradition of entheogenic chemical exploration.

(Incidentally, Canadian chemist Richard Helmuth Fredrick Manske first synthesized DMT in 1931, many years before it was unequivocally identified in organic sources.)

Sure ‘natural’ organic psychedelics are great, but I come from a culture where our entheogenic revival was initiated by LSD. This laboratory product was what transformed Western culture. It opened the way for the return of the plant medicines into the society I inhabit. For that I give thanks to the Bunsen burners, the reaction vessels, the pipettes, and of course to the curious twist of fate whereby a Swiss chemist ‘accidentally’ ingests this incredibly potent substance that his alchemy has brought to birth. And the rest, as they say, is history.

Finally, on the matter of the relative benefits of organic or synthetic psychedelics I think we should be mindful of the option of Arch-Mushroom curandera Maria Sabina (Peace Be Upon Her).

Albert Hofmann visited María Sabina in 1962 and brought her a gift; a bottle of psilocybin pills that Hofmann had synthesized. After trying the pills Maria Sabina announced that there was little difference between their effects and that of the Psilocybe mexicana she used in ceremony. She then thanked Hofmann saying that with these pills she would now be able to serve people as a healer even when the mushrooms were out of season.

This is a great story. A respected shaman sees no great difference between a spirit from the laboratory or from the landscape. And more than this, she explains, why she is pleased to have Hofmann’s medicine; to use it when the natural substance is not available, and to use it to help others.

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Chemical romance

My culture did not have access to entheogens for many generations (they were there in the landscape but we had forgotten them). Since the time of Eleusis we’ve been cut off from ‘the medicine’. It took that chance laboratory discovery, and subsequent archetypal bicycle ride, to return my society to a connection with the psychedelic gnosis. Like Maria Sabina says, when the plant medicine isn’t available the synthetic spirit is just as good so long as we keep to our intention – to take these trips for the benefit of ourselves and for all beings.

Ahoy!

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Summer programme

Stuff we are doing…

Nikki and I are holding a series of retreats at St.Nectan’s Glen. The May retreat is fully booked but please keep an eye on our Facebook page and/or send us your email so we can keep you up to date. We are planning another retreat in July, then September and November.

I’m presenting a celebration of the 75th anniversary of the first intentional LSD trip on Bicycle Day, 19th April in London. This will be a participatory ritual journey, from Eleusis to Acid.

I’m is also facilitating a day long workshop on Sigils, Talismans and Magic Signs at Treadwell’s in London.

Nikki and I have the honour of providing the opening and closing ceremony at the Third Summer of Love gathering in Amsterdam in July. This is going to be an awesome entheogenic ceremony. The next day (yeah, really!) we’ll be providing talks for the Netherlands Psychedelic Society, and the day after that, a workshop on magic and altered states of consciousness. Stay tuned for more details.

In August we’ll be in Wales to run a shamanic workshop  We’re also speaking at Beyond Psychedelics in Prague in June and Ozora in Hungary at the end of July.

Hope to see you soon!

Julian Vayne

The Tendrils of Sacred Time and Space

In the course of deepening my own engagement with the Druid tradition, I have recently been thinking further about the way in which stone circles and standing stones shape the way in which I think about sacred time and space. For me, my own use of the self-descriptor “Pagan” is innately connected to my pursuit of a spiritual path that consciously embraces the limitations of time, context and place. Whatever weird dimensions that I seek to ascend to or access, the pagan orientation of my pursuit of Gnosis necessitates an ongoing connection to the earth and the animal.

Magical acts often begin with the practitioner demarking a space and time so that their ritual practice might become more effective. Whether we journey to a location associated with power or we cast a circle in our front room, these acts and intentions become a psychic funnel via which our longings (both conscious and unconscious) can be focused more directly.

When, as a Chaos magician, I started exploring the wide variety of techniques that could be used for creating or entering sacred space I quickly became aware of the way in which my chosen paradigm profoundly affected my expectation of what such demarcation needed to achieve. If for instance I wanted to engage in a piece of Goetic magic my desire for protection and banishing might be profoundly different from a Puja dedicated to a deity with whom I have a deep and ongoing connection. What I started noticing through these explorations were the varying degrees of permeability that these approaches represented, and also the potential naivety in viewing any approach as entirely protective.

To undertake an act of magic is to invite change at both external and intra-psychic levels. As much as I might imagine that my banishing of a spirit or a great old one cleanses my spiritual palate, it clearly doesn’t negate the spiritual or psychological drives that caused me to do that work in the first place! If, for example, I choose to enter the realm of Red magick it is likely that the combative aspects of myself have been activated with all the adrenal, “fight” based responses innate to such territory. Whatever spell, sigil or servitor I use to express these impulses, I still have to contend with the reality that they arose from me in the first place. These desires and longings extend tendrils deep within our personality structures and as magicians we cannot dismiss them lightly.

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Cosmic Connections

The marking of sacred space via beginning and ending rituals allows a process of punctuation where we are trying to contain those events and energies that are potentially more risky. As magicians, we often make use of this approach to create a sense of control and agency in relation to life’s chaos. While such an approach is understandable, it is also susceptible to our all too human delusions of omnipotence. Our magic can be key in shifting our consciousness so that it can become more congruent with our goals, but I would also argue that the nature of such transformation can be as much about the need to accept things and to relinquish “the lust for results”.

The creation of magical space often provides us with a way of externalizing those aspects of self that we find problematic or challenging. I have previously considered some of the parallels between the Circle and the therapy room as environments in which we can explore ideas or qualities in more personified form,  and I continue to believe that this recognition and naming of parts is critical to our initiatory work. While I think that sacred space provides a helpful lab-like environment for such exploration to take place, I believe that our banishing and attempts at separation can only ever be partial. Yes banishing can be vital to prevent us becoming swamped and destabilized. but we must also recognize the ongoing web of connection that enables a slower, less conscious process of alchemical change.

Whatever perception we have of our magic enabling probability enhancement, we are still contending with a mysterious realm in which our intentions must interact with the complex dimensions of causality. For me, part of the genius of the sigil-based approach of Austin Osman Spare is that he recognises the importance of surrendering our longings to the ocean of the Unconscious. As much as our needs and longings need to be valued, we also need to acknowledge that the exertion of magical will through gritted teeth will only get us so far.

As we enter sacred space via our intentions, our magic often asks us to attend to a profound paradox that often lies at the heart of the Great Work that we undertake. Often we bring to our endeavours a desire to activate profound change to either aspects of ourselves or, the circumstances that surround us. When we make ourselves vulnerable enough for magic to happen through us, we can begin to understand our own motivations more fully and perhaps experience a greater acceptance of who we actually are. When we embrace the maxim “to dare” and turn to truly face our deepest drives, so we can begin to understand the next challenges in our initiatory journey. This can be difficult work, but for me it goes some way in unpacking what it means to engage with the challenge found at the temple of Apollo at Delphi:  “Know Thyself!”

Steve Dee

 

The Loneliness of the Long-Distance Magician

As a rule I generally find polarities quite difficult. I’ve spent much time on the blog wondering about where the boundaries between apparent opposites lie. Whether masculine/feminine, gay/straight or magician/mystic, I keep trying to explore those queered places inspired by my devotion to those fluid dynamics embodied by that strange god Baphomet.

Another binary that interests me, is that of Introvert and Extrovert. Somewhat predictably I take some comfort in the idea of an ambivert who is able to incorporate aspects of both poles, but I am also aware of the danger of seeking a premature synthesis that doesn’t properly value my introvert self. While people may debate what we mean by the term introvert, for me it connects to my need for space, quiet and relative solitude as a means of topping-up my psychological tanks. This space provides a greater possibility for reconnection to an internal world, within which I can gain the resources I need for dealing with the external world.

Part of my initial love of the work of Carl Jung was formed by his articulation of the differences that might exist for the introvert and extrovert. I bumped into Jung while I was both studying theology and exploring a possible monastic vocation. Jung’s formulation provided a vital key in my own process of understanding why I had always felt this need for quiet, self-isolation and space. Undoubtedly there were some less functional drives lying behind this need—shyness, confusion about self, and shame generated by bullying—but in embracing the introvert, I felt that I was giving myself permission to express a more authentic version of self.

The pull towards monasticism was in part inspired by the dual images of St. Anthony and St. Francis seeking a simpler, more stripped-down path in their pursuit of the divine. St. Anthony as one of the founding desert fathers and mothers, fled to the desert in response to the growing respectability of the state sanctioned expression of church. For Antony the sparseness of these desert places provided the ideal geography for encountering the vastness of God, and to do battle with forces he perceived as demonic. In contrast Francis provided me with a more accessible role-model in his pursuit of simplicity, and vision as an inspiration to service and social change. Francis (at least in my imagination) was an example of the introvert, who when refreshed by silence and space, was able to utilise that energy in his engagement with others.

This experience of space and silence can also contain negative connotations when our experience tips over into one of loneliness. In his excellent The Soul’s Code the psychotherapist James Hillman seeks to explore the experience of isolation and loneliness as central to the alchemical process of “soul making”. He seeks to contrast a mythic approach to loneliness that differs radically from either Judaeo-Christian depictions of it as a form of punishment, or as indulgent revelry in some form of Existentialist ennui. For Hillman, a more heroic/mythic engagement with loneliness and space allows the possibility for us to discover and attune with our unique daimon or life’s purpose. The sense of separation engendered by this positive use of loneliness allows us to challenge the conditioning and control that we may have imbibed via either family or societal scripts.

One example of such heroic separation that I’ve recently found inspiring has been via the character of Ragnar Lothbrok in the series The Vikings. For the uninitiated, the first four seasons of The Vikings is largely focused on the unfolding fate of Ragnar as he becomes a leader within his community. Predictably the show deals with the brutality of Northern European life in the 9th century and the interactions between the Old (Norse) and New (Christian) gods. What struck me about the programme’s depiction of Ragnar was that despite (or perhaps because) of his leadership role, he often seeks periods of silence and solitude as a way of reconnecting to his wyrd. In a number of episodes, Ragnar is seen undertaking a practice of “sitting out” (Utta Seti) in which he seeks both the quiet and sharpness of nature as an opportunity to hear and realign with his Gods. To some extent this is the territory we seek to explore in our monthly Zen Hearth, using both trance and deep listening as a means of gaining gnosis. We use the discipline of mindfulness meditation as a means for creating the space in which the whisperings of the deep self can be heard.

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Sitting with Intensity

One of the greatest challenges for those of us who feel compelled to explore these spacious (and potentially darker) dimensions of self and cosmos is how we return from our isolation so as to communicate any insights gained. The truly misanthropic may choose to reject such as role, but often the magician/shaman/witch has been the one who takes the high risk role of speaking prophetically to the norms of a given culture. Often we dwell at the outer edge of what is known and can at times become conduits of both mystery and the unorthodox.

When we take the risk of sitting with the pregnant void of silence, new insights and words may arise and we are often asked to become the midwives at their birth!

Steve Dee

Mystery at the Roots

In my last post I spent some time thinking about the concept of World Trees as cosmological maps. These maps are vital to the evolution of our theologies and also the mechanisms via which we see personal transformation happening. Whether we view such change as “magick”, initiation or psychological change, the maps provided by these mythic trees often highlight those key components that allow the shifts to be both balanced and sustainable.

Living in North Devon (in South West England, close to both moorland and rugged Atlantic coastlines), it’s hard to escape the impact that the winds of winter have on trees. With many stripped of leaves and being forced to bend in the face of sharp winds, they rely on flexible trunks and deep roots in order to survive. This combination of being flexible while retaining depth seems to hold wisdom for those of us feeling buffeted by gusts that we feel we have little control over.

To find our roots means to journey into the dark and the soil from which we sprang. When I seek to help families and individuals understand their current behaviours in therapy, it is inevitable that we have to adopt some archaeological moves in uncovering past role models, patterns and stories. When we dig down into these places that often feel lost and poorly understood, so the shape and speed of our growth can be understood more fully.

These roots are often unseen (or unconscious) and their depth and critical role is easy to underestimate. Anyone who has ever tried to uproot or move a tree will know of what I speak! Approaches that focus on present tense problem-solving and changing day-to-day cognition are of great value, but even these have to attend to those deeper roots in order to address more longstanding issues.

This journey of descending, searching and then ascending is hardly new and the Eleusinian and Orphic mysteries bear witness to the human need to contend with the dark, the animal and the chthonic in order to provide a more mature blossoming of any initiatory work. This motif of descent became crucial to Jung’s depth psychology, the grand mythic arcs of Joseph Campbell’s “Hero’s Journey” and in turn the scripts of the first Star Wars trilogy. In order for our transformational work to be both rich and sustainable, we need to be drawing on nutrients that only darkness and decomposition can produce. The alchemical stage of nigredo and Jung’s concept of the shadow provide us with insights into this realm; as much as we might aspire to transcendence and states of eternal permanence, we must ground our endeavours in the reality of death, the body and our struggle with uncertainty.

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Confronting the darkness

In the face of such stark challenges it can be easy to seek false refuge in either metaphysical projections or our technology-driven attempts to control and escape from discomfort. Both of these approaches are fully understandable, but often prove to be fragile and disappointing in the face of life’s brutality. In having previously considered the example of Odin on the World Tree Yggdrasil, we can see the something of the cost involved in seeking those mysteries (Runes) that seek to capture the wholeness of human experience. Whether we see his gaining of gnosis as being of triumph (“I took up the Runes roaring”) or terrifying revelation (“I took them up screaming”) it is clear that these insights came via ordeal and struggle and that such travail was lengthy.

With the degree of hyper-acceleration that seems so endemic within Western culture, it can be hard to hear that something is going to take both time and significant effort. I’m sure I’m as guilty as anyone in wanting things faster and wanting them now, but when we journey to the roots we can begin to appreciate a slower approach. For me it feels that this more gradual, organic form of emergence takes us beyond the realms of spiritual consumerism and seems to allow what James Hillman describes as the “soul making”.

My own attempts to slow things down and locate deeper roots have recently been via a reconnection to the path of Druidry. When I started exploring the path of magic over twenty years ago it was to Druidry that I was initially drawn. Perhaps because of the apparent gentleness of its style, and the way in which it allowed the Christian and Pagan to converse with each other, it provided me with a less jarring route into occult practice. Alongside my more daring adventures in Chaos magic and Tantra, I have had this slow burn affection for a path that seeks to hold together creativity, magic and wisdom (bard, ovate and druid).

Of the little we know about the druids from early sources (interested readers may like to check out the excellent The Druids by Ronald Hutton), it seems likely that it took at least twenty years to complete one’s training. For me this is good news as I’m just about on schedule! If all this was about was some obsessive attempt at Celtic reconstructionism I’m sure it would have taken far less time, but my hunch is that my deeper relationship with the druid tradition has been about the discovery of what my own expression of Wisdom and Soul should look like in the world around me. The roots of this work are deep because they are as much about my creativity, my social work and my relationships as they are about some well-choreographed wand waggling.

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