Women of the Mabinogion

Here is the essay version of my presentation for Leaping Hare. I hope you enjoy it!

Women of the Mabinogion (Rhiannon and  Blodeuwedd)

rhiannon-boulet_susan_seddon-kb_ssb_rhiannon_2For the longest time I found myself unable to connect, or should I say, unwilling, to try to connect to the stories of the women in the Mabinogion. For those who don’t know what the Mabinogion is, it is a collection of the earliest prose stories of the literature of Britain. The stories were compiled in Middle Welsh in the 12th–13th centuries from earlier oral traditions. The two main source manuscripts were created c. 1350–1410, as well as a few earlier fragments. These stories offer drama, philosophy, romance, tragedy, fantasy and humour, and were created by various narrators over time. Scholars from the 18th century to the 1970s predominantly viewed the tales as fragmentary pre-Christian Celtic mythology. Today, we can appreciate the tales for the beautiful and sophisticated work that it is, stemming from an earlier oral Celtic tradition and recorded by Christian monks over time.

In this recording of earlier tales from a different and conquering religion, of course there were misunderstandings and certain flavours that did not sit well with the monks, and so modifications no doubt were made. Whether these were intentional or not we will probably never know, however, we can peel back the layers with what we know of the Celts and their predecessors, to make the tales come alive again to the Pagan soul.

I will admit now, that I am certainly no expert on the Mabinogion or Welsh mythology. Rather, this little presentation is to share my experience with coming to terms with what I had previously seen as an anti-feminist doctrine or propaganda. I also admit that I originally took the tales at face value, and only after having spent many years delving into the history and mythology of the Celtic peoples have I come to a better understanding, and been able to see more clearly just what the tales have been trying to tell us all along. My work with the Sisterhood of Avalon has helped me greatly in uncovering the real strengths of the women in these tales, and the messages that they are trying to convey through the mists of time.

I shall start with Rhiannon. She’s a well-loved goddess, sometimes seen as a Faery Queen. When I first came across this goddess, I could relate to her as a goddess of the land, symbolised by the white horse. I’ve always loved horses, and so discovering another horse goddess was a real treat. But then I learned more of her tale, and that’s when things started to get sticky for me.

Rhiannon had a child with her husband, the king, Pwyll. The child was stolen one night, and her handmaidens, being afraid that they would be blamed for their incompetence (and probably rightly so) killed a puppy and smeared its blood over the bedsheets where Rhiannon slept and where her child had slept. Upon discovering this horrible scene in the morning, Rhiannon was accused of killing her child, and was condemned to punishment. Her punishment? Being a horse goddess, she was condemned for seven long years to carry visitors to the court upon her back after relating the story of what she had done to deserve this punishment, while she sat on a horse block (this is a block used to mount up and get in the saddle, which takes the stress and strain of a human’s weight pulling down on one side of the animal during mounting). Rhiannon obliged, and for seven years she performed these tasks.

Not exactly the most inspiring feminist story ever told, is it? Why didn’t Rhiannon challenge the women who falsely accused her? Why didn’t she stand up for herself and deny the charge in the first place? Why did she accept the punishment so easily? When I first heard this myth, I was disheartened. I wanted strong goddesses to work with, like Morrigan. What on earth was this horse goddess doing, and what does that teach women today? And so, I left Rhiannon far behind, and have only come back to her recently, and learned of other women in the tales contained within the Mabinogion in the last few years.

Let’s begin with looking at Rhiannon as a goddess of sovereignty. Through her marriage to Pwyll, she connects the Otherworld to this world, and consecrating and blessing the choice of king, as was the way in Celtic lands. As representative of the land itself, she offers up many things without discrimination. She is compassion and nourishment. In the association with the horse, she is strength and working in relationship with a partner (think of a horse and rider working together). She is a Great Divine Queen, and indeed, I later found out that her name shares roots with that of Morrigan and Rigantona, who also are Great Divine Queens.

So what does this teach us? Well, it teaches us of patience, compassion and hope. Seeing Rhiannon weather her trials and tribulations with grace, never faltering in her duty can inspire others to do the same. She is a goddess of endurance, a reflection of the strength and endurance seen in her symbol, the horse. She is grace under pressure. She is true to herself, even in the midst of chaos and unjust treatment. She knows what can be changed, and what cannot. She picks her battles wisely.

She also teaches us of inner sovereignty as well as outer sovereignty. Her dignity never leaves her, even as she carries the few people who do choose to accept her offer of being carried into the court. She knows that the truth will win out in the end. She knows this because she is the land itself. The land knows things that we humans do not. The land knows the bigger picture. She knows that there will be challenges, hard challenges but still she does what she needs to do. She knows the right order of things, the way that the land needs to be in order for everything to prosper, even if the humans of the court do not know this. She teaches us not to give in to victimhood or self-pity. She knows that all things will pass, and this is simply one circumstance out of many that lie ahead.

When I found these deeper layers to her being, I was able to resonate more strongly with her story. So many women can relate to being betrayed by other women. So many women are made to live their lives according to what others think they should be. But Rhiannon stands strong in that, while not succumbing to the lowest common denominator. Rhiannon’s son is eventually restored to her, now a little boy of seven years, and Rhiannon returns to her place as Queen. Her son’s name became Pryderi ap Pwyll, which means “Care, son of Wisdom”. If we are strong enough, and if we do not lose our compassion, but still care for things and have compassion while undergoing the trials of experience which lead to wisdom, then we will follow in the footsteps of this goddess of sovereignty. Forgiveness is necessary in order to move forwards. The past cannot be changed, but we can be healed of the wounds of the past in order to provide for a better future. In doing so, we become sovereign of ourselves, making choices based upon the current moment, and not out of fear or hurt of the past, or worry about the future. Rhiannon teaches us that we have choices, and that the choices that we make can either destroy a kingdom, whether it be an external literal kingdom or our own inner kingdom, or we can hold it together until a better circumstance presents itself. Through her own strength of will, her own dignity and grace, she is able to overcome it all. Well, she is a goddess, after all!

While we may not be so graceful and dignified under pressure, it is certainly something to think about and perhaps strive for in our daily interactions. It made me see this Celtic Welsh goddess in a completely different light. The tale has helped in my own journey to find inner peace and sovereignty of my own self. She reminds me to be as compassionate as I can, as well as showing me how strong I can be against the trials and tribulations of the world, injuries and injustices and more.

Another goddess whose story I originally balked at what that of Blodeuwedd. She was a woman created out of flowers in order to be married to Lleu. This story in itself connects with another goddess from the tales, Arianrhod. She laid three tynghedau, the Welsh equivalent of the Irish geis, upon her son: that he should have no name save one which she herself provides; that he should not bear any arms except those that she provides; and that he should never marry a woman from the race of Men. These “rules” may seem harsh and unpleasant, a kind of “wicked stepmother” scene apart from the fact that she is indeed his real mother. But again, when we peel back the layers of the story, we understand more. In ancient times, it was the mother who often bestowed a name, arms and chose a wife for her son. I’m guessing the monks who recorded these tales didn’t quite “get” that idea, and so made her out to be a wicked woman denying her son of many things. And so, Lleu gets his uncle to “make” him a wife, and he creates one out of flowers and she is named Blodeuwedd, or Flower Face.

Arianrhod’s tale continues, but now I’m going to focus on Blodeuwedd. A woman created for a man – hmm, where have we heard this story before? This might very well be a take on the Christian tale, and the original meaning of it lost to history. However, we can look deeper at many parts of this tale, to see the strengths found in the feminine.

BLODEUWEDD 3Blodeuwedd was the model wife, for a while. But eventually, while the husband was away, she fell in love with Gronw, a neighbouring lord. They lay together for three nights, and then Blodeweudd decided to plot against her husband, in order to kill him and live instead with Gronw. She schemed until she found out how she could kill her husband, who was not easy to kill, ie. he cannot be killed indoors or out, on horseback or on foot and only by a spear that took a year to make and was only worked on during Sunday mass (a forbidden, holy time, which is quite interesting and an open “nod”, if you will, to the story’s Pagan origins). Blodeuwedd discovers how to do this by asking her husband, who seems rather stupid really in giving her all these answers to these riddles, and then Gronw sets to work on the spear.

So when the spear is ready, she makes a bath for Lleu on the banks of a river and builds a house of thatch with only a roof and no walls. She brings either a buck or goat, depending on which translation of this tale you read, and then ask him to show her how he needs to stand with the animal in order to be killed, which he does. Really. Gronw then rises from his hiding place and throws the spear at Lleu, which injures him. As he lies dying, his uncle Gwydion comes and turns him into an eagle in order to save his life. Blodeuwedd and Gronw return to rule over the court, while Gwydion then goes in search of the eagle that flew away, eventually finding him and restoring him back to his original form. After a year has passed, Lleu returns to court, and demands that he should enact the same deed that was done to him, upon Gronw. Gronw has no choice but to accept to keep his honour, but he requests that a stone be placed between him and Lleu. Lleu agrees, and throws the spear, which goes right through the stone leaving a great hole, and kills Gronw. (The stone can still be seen today, with a great big hole through it). Blodeuwedd runs away, but Gwydion tracks her down and turns her into an owl, as “punishment”.

When I first read this tale, I thought “My, what a horrible woman”. But when I looked deeper, and applied what I knew of Celtic mythology and lore, a new picture began to emerge. There are a couple of tales where two kings fight, usually over a woman, such as one of the tales of Gwynn ap Nudd, or the more recent Oak and Holly King. The woman represents the land, and decides who has sovereignty over which part of the year. Lleu means “light” and Gronw is associated with darkness. So, we can see the cycles of the year represented in the “battle” between the light half of the year, and the dark half of the year, with the goddess of the land choosing her mate at the appropriate time.

In lying with Gronw for three nights, this is actually a form of marriage in ancient Celtic law. There were many forms of marriage, this being just one of them. So it is easy to see how the goddess of the land, the one who was literally “made” from the land out of flowers, chooses who will be king. She is dutiful to Lleu during the appropriate time, and then weds Gronw again when the time comes to move into the dark half of the year. In this regard, Blodeuwedd is another goddess of sovereignty.

She herself transforms as well, from that which turns to the light, ie. flowers, to that which turns to the dark: an owl. Married to Lleu, as a flower she turns to the light. Married to Gronw, she is a creature able to see clearly in the darkness, and fly free. The monks who wrote this tale down saw the transformation into an owl as a punishment, and recorded it as such, but really what would you rather be? A flower or an owl? Something rooted to the land, or something that can fly, see in the dark, is an exceptional hunter and which is utterly gorgeous?

Perhaps Gwydion did not change her at all. Perhaps Blodeuwedd changed of her own accord, so that she could fly free and exist in the dark half of year with the appropriate king and husband. Perhaps she will return again the spring as the flower, making the cycle complete. Perhaps that is the truer, older tale.

Blodeuwedd shows us that in us there is both light and shadow, and that we must acknowledge both these aspects of ourselves. For if we do not, if we abandon one for the other, we become imbalanced. We need winter just as we need summer.

With Rhiannon and Blodeuwedd, we can find tales of the stories of women, their struggles and their pain, their choices and the cycles of life, death and rebirth. We can still find them in the old tales, even through the thin veneer of a conquering religion at the time. We have to be able to open up our perceptions, however, to look deeper, as well as do the research into the time and place when these stories occurred. We need context. Without knowledge of ancient Celtic lore, these stories, taken at “face value” in the Christian context can seem utterly demeaning towards women. But when viewed on a deeper level, with what we now know of Celtic lore, as well as the cycle of the seasons and looking with a Pagan eye, we are better equipped to fully understand just what the stories were trying to say.

My work with the Sisterhood of Avalon helped me to better understand these women’s stories. The SOA uses the tales of Rhiannon, Blodeuwedd, Ceridwen, Arianrhod and Branwen to move through cycles of healing and transformation. The creator of the SOA, Jhenah Telyndru, is a wonderful woman and scholar in Celtic studies, bringing good research and lore to a deeper understanding of the myths and tales. You can find out more about the SOA at sisterhoodofavalon.org.

Their stories are our stories. Even today.

 

Delineating Sacred Space in Ritual

Delineating/Designating/Creating Sacred Space (preparing the nemeton)

P1000491 (1024x640)Not all Druids feel the need to delineate/create sacred space (otherwise known as preparing the nemeton) as described previously. Especially when working out of doors, some do not “cast a circle” as is popular in other traditions, feeling that there is no need as they are out there to connect and commune with the world around them, and that all is sacred, therefore we cannot “create” sacred space in any sense. This is why it is sometimes referred to as delineating sacred space, which in effect means to delineate the area that we are working in, to narrow the focus down to a specific point. However, this again can be too confining for some Druids, and so they forego the practice altogether. In Wicca, a circle is cast mostly to contain the energies raised within ritual, and some Druids today use a similar reason for their creation/delineation of ritual space. However, others see this as irrelevant to Druid practice, and so do not incorporate it at all.

In my practice, I delineate sacred space or prepare the nemeton when working with others, so that we are “all on the same page”. What this means is that we are working with the energies of a delineated space, to narrow the focus, so for example we would raise a boundary of energy around the entirety of the back garden, so that we can focus on what is happening in that area, as sometimes widening the focus can be too distracting, what with everything going on all around us at any given time. This way, we can really concentrate on using a smaller area, the microcosm of the macrocosm. However, when working alone I don’t feel the need, usually, to delineate the space as my personal nemeton is sufficient. Much of it depends on my mood, where I am and what feels most appropriate. When casting the circle or delineating sacred space, we can push out energy from our own bodies or expand our own nemeton, and say something similar to the following:

I now cast/create this sacred space, a nemeton of inspiration wherein to do my work.

If we wish, we can use a tool such as a staff, wand or a blade to direct the energy that we are pushing out of ourselves to delineate the sacred space. I use my sickle in this action.

We can then ask the spirits of place, and/or the realms of Land, Sea and Sky to overlay the nemeton:

Spirits of place, lend your energy to my nemeton, that it may be strong. Guide, guard and bless my work.  

May the Realm of the Land provide this nemeton with stability, may the Realm of the Sea provide it with love and may the Realm of the Sky provide it with inspiration. 

When overlaying it in this manner, you can create a space that has been encircled three times, defining a temple space and strengthening it with this triplicity, something which I’m sure our ancient Celtic ancestors would have appreciated.

We can then consecrate the space, should we feel the need. I carry incense and water, normally, to represent earth, air, fire and water. Sometimes I simply smudge the area with mugwort. If I have nothing to hand, for instance when I’m doing impromptu ritual out in the wilds, I might simply ask for a blessing on the space in lieu of consecration. You may say something like:

I now consecrate this area through the powers of earth, fire and air and water.

Or

I now consecrate this area through the powers of Land, Sea and Sky

Or

I ask a blessing on this sacred space, from the spirits of place, the gods and the ancestors.

When closing down the ritual, you then will take down the nemeton, if you have created one, in a similar fashion to that which you created it, but perhaps in reverse order. If you created it in a triple manner as in the example above, you might walk the circumference three times to take it down, drawing the energy back into yourself, or the tool with which you may have cast the circle, perhaps walking in the opposite direction to which you created the sacred space:

I now release this sacred space, the nemeton of inspiration wherein my work/ritual/celebration was done.  

I use my sickle to “cut” the circle and draw the energy back into the blade. Then, if it’s a triple cast circle, I also honour the spirits of place and the three realms for their part in the designation/delineation of sacred space.

Spirits of place, thank you for bringing your energies to my nemeton; I ask that it be released into the world for positive change and transformation. 

May the Realms of the Land, Sea and Sky release the energy of this circle, to flow throughout the worlds in respect and in harmony.

This is basically all there is to creating/designating/delineating sacred space. It is a simple and yet beautiful way to create a temple in which to work, one that leaves no trace behind except our songs and stories on the wind.

Spring Equinox Ritual

17424940_1631874040162911_2176214830578649287_nHere’s a ritual that you can use to celebrate the Spring Equinox. A full set of rituals for the seasons, as well as for life’s passages will be found in my upcoming book, Hedge Druid for Llewellyn Worldwide, available in 2019.

Spring Equinox

For this ritual, try to find a place that is between two places: a threshold place, a liminal place. It might be on the seashore, or a lakeshore, where the water meets the land. It might be a hilltop, where the land meets the sky. Even a backyard can be seen as a liminal place, between your home and the wilderness. You can choose a liminal time as well, such as dawn or dusk, not quite morning, not quite night. This ritual is aimed at opening your mind and your self to wider perspectives, as you stand on the balance point of light and darkness. There is nothing that you need for this ritual, no items at all, but you can always leave an offering if you so choose. Please ensure that it is biodegradable, and compatible with the environment. Songs and poetry are always good options, if you are unsure.

Designate the sacred space, if you feel the need to do so. Some feel more secure within a ritual nemeton (sacred circle), others do not feel the need. Do what feels right for you. Take a moment, a few moments, and connect with the place. Listen, and feel. Allow the place to tell you its story. Connect with it, and become a part of it.

When you are ready, stand and hold your arms out to the sides. Say these or similar words:

I stand at the threshold, in the liminal world between time and space.

I stand upon the knife’s edge, I stand upon the turning point in this liminal place.

I honour the balance of day and night, of dark and light; 

Equal day, equal night.

Grant to me Second Sight. 

Lower your arms, sit down if you wish, and meditate upon the area around you. If you’re feeling adventurous, stand with one leg raised, or on one foot with the other either pushed out in front or behind you. A good pose to use is the “tree pose” in yoga.  If you’re feeling very adventurous, cover one eye with your hand while standing in this posture. This is an ancient posture said to be used by the Druids to see through and beyond the veils to the Otherworld.

Stand in this position for as long as you can. Allow yourself to open up to the place, allow it to give you insight. You can gaze at the clouds scudding overhead, or the waves lapping the shore, or the wind among the leaves of the trees. Let your mind relax, and open itself to what nature is trying to say to you. You may ask a question, or have a problem that needs some inspiration in order to be solved. Allow nature to be your guide, allow the spirits of place to guide you. Allow the liminal nature of the time of the Spring Equinox to take you beyond light and dark, day and night, black and white. Find that balance point, where everything is perfectly held: in your body, in your mind, in your soul and in the world around you. The answer will appear, or you will get insight into your own nature, and/or the nature of the world.

When you are ready, gently come out of this pose, or rise from your seated posture. Hold your arms out to your sides once again, and say these or similar words:

The balance shifts, the doors open and we come through to the other side

The darkness recedes, the light increases and we have no place to hide

Second sight grants to me

Confirmation in times of uncertainty

The Wheel turns round, cycle never-ending

From darkness to light this cycle we’re tending

Hail to the growing light, farewell to the long night

Hail to the awen (inspiration) and to the Second Sight

Give your heartfelt thanks to the spirits of place, for their gifts. Honour in your soul every living thing for its own sake. Honour the times and tides of the Spring Equinox, of balance. When you are ready, give your offering, close down the ritual space if you created a nemeton (sacred circle), and thank the spirits of place once more. Remember, and write down if you need to, what you learned and gained from opening up to the second sight. These insights may well carry you through the light half of the year, until the autumn equinox…

(Designating a sacred space, or circle casting will be discussed in the next blog post.)

Druidry Online Course

We’ve had a winner in the e-newsletter prize draw, and congratulations to Kelly Pederson!  The course is now available to all, and here are details of what it includes:

  • A 118 page pdf document containing information, practical exercises, things to think about, reference and suggested/further reading
  • Audio mp3 files to complement the course, including two meditations and a journeying session, as well as a storytelling session from Robin Herne and a chant to be used in ritual by Joanna van der Hoeven
  • Email tutorship from Joanna and Robin throughout the duration of the course. You can take the course as your own speed, there is no time limit.

So, what does this course cover? It covers the basics of Druidry, including:

  • What is DruidryDruidry Course Photo
  • What is Relationship?
  • History of the Druids
  • The Gods in Druidry
  • The Spirits of Place
  • Working with the Ancestors
  • The Quarter Days and Fire Festivals
  • Druid Ethics
  • Druid Philosophy
  • Awen
  • Altars and Ritual Tools
  • Magic
  • Ritual Structure and Performance
  • Meditation
  • Prayer
  • Anarchy and the End of Submission
  • Suggested Reading List

How much does this course cost? It is £75, which includes the pdf file, the audio files and the email correspondence with both tutors. You may correspond as little or as much with the tutors as you like. Payment can be made via online bank transfer, or by cheque in British pounds.

This course is aimed for those new to Druidry, and can also serve as a good refresher for those who have walked the Druid path for many years. It is based on the teachings we provide at Druid College, condensed down to an introduction to Druidry and offered alongside guidance provided by both tutors. This course is about reweaving that connection, our connection to the land, the ancestors, and the gods.  It is about learning the native spirituality of these British Isles, and exploring how they work in the wider world.  As an introduction into the path that is Druidry, it focuses on our relationship to the land, the ancestors, the gods and the spirits of place.

What you get out of Druid learning is what you put into it. There is no room for passivity; Druidry is very much an active path. No one can do it for you.  You must search out the awen, the inspiration yourself.  Teachers may act as guides, priests may work as celebrants in ritual, but they do not take the place of active learning on the individual level.  No one can do it for you.

So we actively encourage you to take those first steps along the path, and to hold the intention of your learning close to your heart as your journey. Know that the work that you put in will reap benefits, for yourself,  your own sense of well-being and for the earth as a whole. For we are all part of the great tapestry of life.

If this sounds like something you would be interested in, then please email autumnsong@hotmail.co.uk to register.

We hope that you will take this journey with us. In the meantime, awen blessings!

Joanna and Robin

Recent media highlights

My Pagan Portals introductory book, The Crane Bag: A Druid’s Guide to Ritual Tools and Practices was recently reviewed on Estoeric Moment: you can watch the video review here:

 

Robin Herne and I were approached by The Wild Hunt for our thoughts regarding the new television series, Britannia. While I have not watched the show, I gave some thoughts regarding storytelling at the end of the article, while Robin, who has watched the show, gave his point of view. You can read the article HERE.

Things are really busy here, so no new and thoughtful blog post this week – I hope to have more time next week! x

 

Druid Magic

Magic in Modern Paganism is often seen as the ability to make changes through Will, the will of the mind combining with and focusing the energy of the universe. Druid magic is not that different, and there are several ancient accounts of Druid magic that can be found throughout history. As well, there are the Celtic myths and legends to look to, with tales of the spells, feats, incantations and more of certain characters. Indeed, the Tuatha dé Danann, the gods and goddesses that travelled on the North Wind to make their home in Ireland, were also called the Aes Dana or the Gifted People. They were known for their magical ability, and the first Druid magic worked in Ireland was done by them. In Irish, draíocht translates as both spells and magic, and shares its root with the word draoi, meaning Druid.

Druid magic was used for many different purposes: to curse, to bless, to transform, to repel, to create illusion, provide healing, to divine and to bring harmony. There are as many uses for magic as there are intentions of the individual, and so magic was and still is widely used in the Druid tradition. Magic can be empowering to the individual who has tried everything else and has no other recall in a given situation. Many in Modern Paganism adhere to the Wiccan view of the Threefold Law, which states that what you do comes back to you threefold, for good or ill. Druids don’t believe in this law as such, but as those who are questing integration, to create balance and harmony within an environment, performing malicious magical acts isn’t exactly suiting the purpose. Sometimes things will need to be removed, much like pruning a diseased tree. What is most important is that the whole is taken into consideration, and not just the desires of the individual.

It was said that Druids could call up mists, or create fog banks to hide themselves from their enemies. The art of illusion or misdirection was not unknown. Deirdre was made invisible by the Druid fostering her, so that no one could see or hear her. Aonghus Og covers Diarmuid’s lover, Grania, with his mantle or cloak, thereby making her invisible so that they can escape their pursuers.  A mantle is a cloak, and we can still see the use of the word, “to cloak” meaning to conceal. What’s more, mantle in ornithological terms also means the wings of a bird , and there are instances of Druids and even the Tuatha dé Danann being described as wearing a cloak of feathers. Some of these cloaks enabled the Druids to fly, such as the blind Druid Mog Roith so that he can direct a battle accordingly.

There are many various healing techniques in Celtic culture. Healing wells abound through Britain, Ireland and Europe, and are associated with Celtic deities. Other popular magical acts and items include the brat Bríde was a piece of cloth left out on the evening of Brighid’s holy day of Imbolc, and brought back into the house with the power to heal, as well as to protect and ensure abundance of milk in cows and aid in calving, lambing and foaling.  This cloth was not to be washed, otherwise its power would be drained. A brat that was seven years old was especially powerful. Herbs were used in healing, and special charms were recited as the herbs were being collected, as demonstrated by many various charms found in Carmichael’s Carmina Gadelica.

This is but a brief description of Druid magic. I go into much more detail in my upcoming book, Hedge Druid which will be published by Llewellyn Worldwide next year. Concerning Druid magic, we have some ideas, a few tantalising morsels to help us understand what magic was to the ancients Celts. As well, we have our own understanding of how the world works, and we can combine the two in order to achieve magical workings for our own day and age.

A lovely milestone achieved!

cover high resMy Pagan Portals book, The Awen Alone: Walking the Path of the Solitary Druid has sold over 10,000 copies! Thank you to everyone who has read this book, left a review, emailed me and more; thank you so much for your support! (And it’s still a No.1 Bestseller on Amazon!)

I never thought writing a book would have changed my life so much, but this one certainly has. I’ve had so many people share their experiences with me after reading this book, sharing the awen and the inspiration, and it has been a beautiful cycle of being inspired and inspiring others in return. I’m lost for words today, and wish I could express the gratitude that is in my heart, but for once I am utterly at a loss 🙂

Follow your dream, be true to yourself, and may we be the awen. xoxo