spell

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On a Moonlit Night…

A full moon and the spring equinox not two days apart; the energies leave me reeling, literally. My head has been pounding for two days straight, and I just can’t wait for the tides to turn and for the energy to subside, to slide into the more gentle flow rather than being a gushing torrent of turbulence. The light is too bright, sounds are too loud and everything is just too much. But I know it will change. Things always change.

It’s Friday night and I climb into the car and drive down to the beach. Over the farmer’s fields I can see the moon rising, huge and pink in a clear sky. My head has cleared, for the time being – the painkillers have set in. I am excited as I drive down the winding road, alert for owls and hares.

When I get to the car park there are only two other cars there, one leaving. I grab my bag and my drum and make my way across the shingle beach. I haven’t checked the tides, so I don’t know what awaits me or where the shoreline will be tonight. In the last of the evening light I can make out a figure walking in the distance to my right, and a fishing tent with a man moving about it to my left. As the stones of the shingle roll and crunch under my feet, I am glad for the noise, because it means no one can sneak up on me. These are things a woman alone at night usually considers.

As I reach the ridge of the high tide line, I see below me a beach that is not usually there. The tide is right out, and a long peninsula of shingle stretches out into the sea. I have walked on this shingle spit many times, out into the ocean but never have I seen it stretch so far out. My heart beats faster, as I know this will be a very special night.

I slide down the shingle bank, smooth stones rolling about my boots. The fisherman looks on, probably a little puzzled, but I can’t see his face in the growing dark. I reach a sandy beach, which in this area is a rarity. It’s only a small section, and I walk cautiously across it, because what looks like sand in this part of the world can also be mud, which acts like quicksand and to which many a day-tripper has lost their rubber boots as they scamper unwarily across the surface.

I cross the sand and reach the shingle spit. Walking down it, I raise my eyes to the moon now, and am stopped in my tracks. From where I stand, the spit of shingle stretches out into the sea, marking a pathway straight to the moon. It is incredible, and I am utterly enchanted. I want to walk that road, straight off the shingle spit and out into the waves until I reach the moon.

My senses come back to me, and I make my way down the long peninsula of rolling rocks, the waves lapping at either side of me. It’s exciting, being here, where only one set of footprints shows from a previous adventurer on this night. I walk out a little further, almost to the tip of the shingle spit, but not quite. I’ve never walked out this far before, and I don’t know what the tide will be doing. I have a feeling it’s just turning now, and I don’t want to be caught out. So, 50 yards from the end, I stand.  

I am betwixt and between. I am in a place that is not a place, in a time that is not a time. I am utterly between the worlds. I am not on land and I am not at sea. I am surrounded by water with boots firmly on smooth pebbles that roll in and out with the waves. The dark night sky above me is shot through with stars, and the full moon of the spring equinox is rising before me. What a time to be alive.

I take out my drum and start to work with the rhythm of the North Sea. I feel her flowing around me, singing her songs of ebb and flow, of her story of how she came into being. Standing as far out as I am, I understand how the land bridge used to work that carried our ancient Stone Age ancestors across from Europe to this land, before it was cut off by the water. It is still a shallow sea, muddy and roiling and constantly changing, hiding its mysteries beneath the waves.

I drum and sway with the tide. I can see that yes indeed, it is turning. It is now coming in, and I will have to keep my wits about me even as I tumble into ecstasy. My witch blood pounds in my veins, my wild heart soars with the stars above. I call out the goddesses in my life, singing their names, chanting and letting whatever comes to express itself on this night. The wind takes my words and songs away, a gift offered freely to this awesome night. I feel so alive, so utterly free and yet spellbound by the moment. I am the stars in the sky, the moon before me, the waves around me. I am utterly connected, yet without any visible strands that keep me pinned down to just one awareness. This is so exhilarating, so wild, so free. This is pure magic.

I stop drumming and singing and open my arms wide to the sky, drinking it all it. The Fair Folk are all around me, playing in the waves, brushing against my cold skin. I can hear them whispering, feel their light touch upon my hair. Strange sounds are all around me, and I am frightened and not frightened at the same time. This is wyrd.

 I am witch. I am a druid. I am one who walks between the worlds. This is who I am.

This is my Friday night.

I have been to many liminal places many different times, but not like this. This is special. I know that my heart will start to beat a little faster just remembering this night.

My ears are cold. I lower my arms and look around, noticing the tide coming in more and more, for that is what it does, without complaint, without effort, without coercion. I must be more like the tide, I think, as I put my drum away. I say my farewells to the place and all who are with me at the moment, and take a last look at the moon. The pathway to her is now under water, hidden beneath the shining surface of Mardöll, obscured by the grace of Nehalennia, taken with the great mystery. It is time to go.

I make my way back up the shingle spit, narrower than before. The fisherman is still there, and I wonder if my chanting, singing and cries were hear by him or whether they were scooped up by the sea there and then. I scramble up the steep shingle bank from the beach, almost twice my height. I sit for a moment at the top, looking at the little bay that has been created by the ever-shifting of the shingle. Each time I come here it is different; a bay disappears or suddenly appears elsewhere, a lagoon shines in the light, a seal swims close to the shore, geese fly overhead to the marshes, a cormorant makes its way home. Each time it is different. Each time it is magical.

I crunch my way back to the car. As I drive down the winding road, watching out for owls and hares, my headache comes rushing back, pounding in my temples. It lasts for two more days, until the equinox shifts the energies, and finally I am released from the swell. I can breathe in the spring sunshine, the daffodils in my garden bobbing their heads in the warmth, the robin singing, the bees beginning to make their rounds. It’s as if the earth has held its breath, and now it is released.

These changing tides are hard on the old body, but I wouldn’t have it any other way. I smell the green grass and moss beneath me, and revel in the blue sky overhead. I give heartfelt thanks for my many blessings, and say a prayer for peace under the late March sunshine.

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A Spell for Peace

This month I’ve written a spell for peace (in a war-torn country) that is available to everyone via my Patreon page. You do not need to be a Patron to view or download the pdf of this spell – it is open to all. May we be peace. xoxo

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A little magic and spellcraft…

Did you know that on my Patreon page, I share magic and spellcrafting tips? Every month I put up a new spell, alongside some other tips, herbcraft and more. Here is an example of the spellcrafting that’s on offer for the top two tiers with my Patreon community 🙂

The Cairn of Stones Spell

In this spell, we use the power of stones to help bring about what it is that we need/desire. Ensure that your intention is good as well as being nice and clear. You can perform this spell outdoors or indoors. I personally prefer not to work with crystals unless they are ones that I have found myself out in the wilds, because a) they may have been mined through blasting the earth or obtained using dubious labour practices, and b) most crystals for sale are tumbled, meaning that they won’t pile one of top of the other very well.

Gather up some stones to use in this spell. If you are collecting them out in the wild to take home later, then please ensure that there are no restrictions as to what you can and cannot take home with you from this area. As you walk the land, keep your intention in mind, and your eyes and heart open to stones that seem to speak to you. Pick them up as you go, feeling their energy to see if they are in tune with your intention. If you are using stones that you already have, then do the same with each of them at home. Leave an offering to the earth after you have collected the stones. Thirteen stones is an ideal number for this work.

Find a place that speaks to you, and where your stones will be left undisturbed. Don’t place them in a prominent spot, say, in the middle of a busy beach, because children, adults, dogs etc. will probably knock them over before they’ve had a chance to work. It’s a good idea to find a place near to where you gathered the stones, so that they are all staying roughly in the same area. If this is not possible, bring to mind the area where you found the stones when you are ready to start the spell, and say a word of thanks.

In your designated place, cast a circle if you so wish and call upon any deities, ancestors, spirits of place or Fair Folk as appropriate to your path. Call upon the element of earth specifically, and really focus on this element. Through the stones, your spell will be working through the element of earth.

Hold each stone separately, and think of your need/desire. Blow gently on the stone to attune it to yourself and your personal energies. Then, place your intention into the stone, letting it flow from your mind and into the stone. Pour some of your personal energy into it as well, and visualise yourself as having obtained or achieved your goal. Say these or similar words after you have done this, to seal it into the stone:

Stone of earth, elemental power

Lend your strength here at this hour

To my spell manifest for me

This is my will, so mote it be.

Place the stone down, and repeat with each stone in turn. Make the little cairn or pile of stones wider at the bottom, so that it narrows towards the top where you can place a single, topping stone. As you place this final stone with the words spoken, see the whole pile lighting up and glowing with

combined energy. This energy radiates outwards and into the world to manifest your goal. Take a moment to relax, ground your energy and then leave an offering nearby (but not right by the stones – an animal might knock it over if it is a food offering). Rise and make your way home if you are out in nature, and let the spell do its work. The rocks may radiate your energy and intention for some time.

If you are performing this indoors, use your altar or a place where the stones will not be disturbed for several days at least. Leaving the stones for a cycle of the moon is ideal. When you are ready, dismantle the stones and thank each stone for lending their aid to your work. You can do this with an outdoor cairn as well, returning the stones to where you found them, or you can leave the stones there as you wish. If you need to break this spell at any time, simply dismantle the cairn and state “the spell is broken, through the words I have spoken” and see the energy of spell dissipating into the air. Some residual energy may linger, but you may not have any control over that, as it has been “put out there” so to speak and you no longer have complete control over it.

Working with stones is a wonderful way to get to know the earth and its energy.

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The Runes: Ōs

In this blog series , we will go through the runes as they are recorded in the Anglo-Saxon or Old English Rune Poem.

The fourth rune, Ōs has two different interpretations, yet which are linked. The first is that Ōs means god, or divinity, and usually Woden (Odin). The second is that Ōs means mouth, which again is related to Woden, who uses the breath of life and also the breath of inspiration. So it most likely that this rune relates to Woden directly, whichever way we look at it. Ōs is also known as Ansuz, which means a member of the gods’ family or tribe.[1] With the shape of the rune Ansuz, the ends of the branch do not turn upwards as they do with the Old English rune Ōs.

In the Anglo-Saxon or Old English Rune Poem, the verse reads:

God [or mouth] is the origin of all language

Wisdom’s foundation and wise man’s comfort

And to every hero blessings and hope.[2]

Woden is the bringer of runes to humankind, who sacrificed himself on the tree for nine days and nine nights until, screaming, he took up the runes from the Well of Wyrd. This scream is again related to the mouth, breath and inspiration. It is all coming from the inside, to be expressed externally. As the god of frenzy and inspiration, this suits Woden very well. Woden also specialises in eloquence and poetry, let’s not forget.

Warriors and heroes were supposed to valiant in battle, but also eloquent afterwards. They had to know how to trade verses and come up with poetry, sometimes on the spot (though not while fighting!). This might relate to the hope and blessings aspect of the rune verse with regards to heroes, or perhaps that they will be remembered for their deeds after they have died with good words, poetry or song. Woden’s later incarnation as Odin in the Viking Age was both a boon and a bane to his chosen heroes, for he often betrayed them. And so, the blessings and hope we see in the rune poem make more sense in the remembrance of the hero, rather than a divine blessing or hope.

Albertsson states that Woden was much different for the Anglo Saxons as his later Viking counterpart was to his people: Woden was primarily the wise one connected to words and speech, the creator of spoken language, he who inspired the poets.[3] He ruled the wind, which included the breath that creates speech (æthem). This breath of life is also the final thing that we do upon death: we exhale for one last time, thus denoting Woden’s role in death as well as life. Thus, Ōs can also be seen as the rune of life and death, perhaps even rebirth.[4]

Ōs has a relation to the use of magic as well, as spoken words in charms were and still are very common. In the text, Hávamál, Odin claims to know galdor, to know how to use the words and spells against fire, sword edges, arrows, fetters and storms. He could also summon up the dead and speak to them to gain more knowledge.

In runic readings, Ōs means communication, inspiration, poetry and knowledge, usually of divine origin. If the querent is a devotee of Woden, it might have even more meanings. You can us Ōs magically to help increase eloquence, to find the inspiration to write that book or poem. Holding up the rune to your lips while concentrating on receiving inspiration can open up new pathways gifted by Woden. You can trace the rune on work surfaces and tools such as laptops, especially if you are a writer. And here’s hoping it brings wisdom, comfort, blessings and hope, even to the most stubborn writer’s block! Finally, you can use it to communicate with the dead, should you so wish, as this is one of the realms of Woden’s power.

[1] Pollington, S. Rudiments of Runelore, Anglo-Saxon Books, (2011), p.46

[2] Pollington, S. Rudiments of Runelore, Anglo-Saxon Books, (2011), p.46

[3] Albertsson, A. Wyrdworking: The Path of a Saxon Sorcerer, Llewellyn, (2011), p.186

[4] Wodening, S. Hammer of the Gods: Anglo-Saxon Paganism in Modern Times, Angleseaxisce Ealdriht, (2003), p. 185

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The Runes: Feoh (Wealth)

feohIn this blog series, we will go through the runes as they are recorded in the Anglo-Saxon or Old English Rune Poem. The first rune in the Anglo-Saxon Futhorc is Feoh. Feoh translates as cattle, and in Anglo-Saxon culture cattle meant wealth, so this is the modern interpretation of the rune. It is the root of our word, “fee” with regards to money.[1] The segment of the Rune Poem reads thus:

Wealth (Feoh) is a comfort to any man

yet each person must share it out well

if he wants to win a good name before his lord.[2]

To pronounce the name of this rune, you’ll need to get a little continental in your throat. The first part is easy, fay. The second part uses a glottal stop at the end similar to the word loch pronounced with a Scottish accent, but much softer. Just slightly close off the back of your throat when you end saying och and you’ll have it. Fay-och. You can also bypass this, if it is troublesome, by pronouncing an “h” sound at the end. Fay-o-hhh, but this technically isn’t perfect.

Cattle, whether in the form of cows, sheep, goats, etc. were a major part of Anglo-Saxon economy. In a cash poor society, where few people had many gold or silver coins, your wealth was determined by how much you could sustain yourself and your community. If you had cattle, you had dairy and meat, as well as the offspring with which you could barter, trade or even sell for coin. Cattle is wealth that is moveable, as opposed to inherited wealth such as a building, home or farmland. Feoh’s meaning is deeper than simply wealth however, for it is wealth that has to be looked after, wealth that has to be managed. Cattle don’t just take care of themselves on the farm. Feoh is wealth that is earned from hard work. It is not a gift, like the rune gyfu which we will look at later in this series. Rance states that Feoh may have been the first rune in the Futhorc because of the importance between keeping cattle and agriculture, and the development of writing.[3]

Yet Feoh does not just mean wealth alone; wealth must move, it must be put for the benefit of everyone, and not hoarded solely for personal use. Wealth occurs when we have an excess of something, an abundance of a resource. If our needs are just being met, we are sustained and sustainable, but not wealthy. If we have an abundance, then sharing that excess helps everyone achieve a sustainable state. We see this happening in nature, where through underground networks of roots and funghi trees can help other trees to grow when they are placed in less favourable positions regarding sunlight or water. A community is stronger when wealth is shared, rather than the fewest having the most, (which sadly the latter is the norm for today’s society). The rune poem admonishes hoarding, and tells us that each person must share in their wealth if they want a good reputation in the eyes of others. In the class system that existed in Anglo-Saxon culture, a lord ruled over the land, and if he/she was a good lord, they demonstrated the Anglo-Saxon virtue of sharing with gifts, which then in turn help the barons and other nobles to be able to share their wealth with the common folk, who then shared their wealth in turn. It wasn’t a perfect system by any means, and we must remember that slavery was a thing back then, so it wasn’t all mead and roses. However, what we can take from Feoh today is that we must put back into whatever system we live in, or give back to our family, friends and community with the wealth or abundance that we have, in order for the ecosystem that we live in to thrive.

When meditating upon the shape of the rune, you can see both the meaning of cattle and the meaning of sharing wealth. The two upright branches can resemble cow or oxen horns in profile. It can also look like a person in profile, either giving or receiving something with arms outstretched. I have used the rune Feoh in trance posture, either sitting or standing with arms outstretched before me, palms facing each other. It provides a feeling of well-being, and brings energy to the head area especially, giving a sense of fullness and comfort, just like the Rune Poem states.

I’ve meditated upon the wealth in my life, while gazing or holding this rune in the palm of my hand. I look for ways to share that wealth, so that I am a contributing member of my community and ecosystem, rather than simply taking and consuming resources all the time. Feoh is giving with arms outstretched, and also learning to receive wealth with grace. All too often, we dismiss our many talents and what may come from them, and in doing so we do ourselves a disservice. The work that we do should provide benefit, and in that benefit we are hopefully able to share back.

At the end of harvest, here in England we celebrate Harvest Home, which is today a church service usually followed by a supper. In ancient times, the last grain of wheat or barley left at the end of harvest was left out for Woden’s steed. In East Anglia, there is the tradition of leaving a small portion or corner of the field unharvested, for the land/nature spirits, or for the Devil himself as it is now known as The Devil’s Plantation. Where do you have abundance in your life, and where can you give back? Where is the line between holding a good relationship with your family/friends/community/ecosystem, and martyrdom? Do you give too much? Remember, there is nothing wrong with comfort, as long as there is reciprocity. Wealth also takes many forms, and does not just mean monetary wealth.

Feoh is useful in spellcrafting for monetary purposes, but remember: you have to work for your wealth. It will not just land in your lap. In divination, it can mean all of the above, with the importance of sharing something underlying the outcome.[4] It may ask that you reassess what is valuable in your life, or what skills you have in abundance. Chanting the rune while standing in the posture which emulates this rune can help you do discover more about the wealth in your life, and what you need to do to achieve it and subsequently share it so that everyone benefits. There is an element of reputation with regards to this rune, which is something that our Anglo-Saxon forebears held highly in esteem. No one would want to be seen as miserly. Remember, wealth is an abundance of a skill or resource, and so share wisely.

 

[1] Pollington, S. Rudiments of Runelore, Anglo-Saxon Books (2011), p.17

[2] Translation by Stephen Pollington, from Rudiments of Runelore, Anglo-Saxon Books (2011), p.45

[3] Rance, S. The English Runes, Secrets of Magic, Spells and Divination, Anglo Saxon Books (2017), p.19

[4] Albertsson, A. Wyrdworking: The Path of the Saxon Sorcerer, Llewellyn (2011), p.114

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New Podcast Now Up!

Here is the latest in the Elements podcast mini-series, where we look at the element of fire. Hope you enjoy! You can download the entire podcast series, as well as everything else on my Bandcamp page, with a subscription.

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Imbolc Protection Ritual

Snowdrops ButleyThis rite uses what is commonly known as “The Descent of Brighid” from the Carmina Gadelica. This rite specifically calls upon the powers of the goddess Brighid, and cannot be used interchangeably with another goddess. If you honour or work with other deities, you might consider using the poem as an example to write your own spell or charm of protection. Alternatively, you might just leave out all the references to deity. At the end of the poem, we find the term luatha-luis, whose meaning is not wholly clear, and which is open to interpretation. It may mean a fast-acting, possibly poisonous plant. Luis is the rowan or mountain ash, a powerful and magical tree, whose berries are poisonous when raw, but delicious and nutritious when cooked.
You can perform this ritual every Imbolc, especially if you are a follower or would like to honour Brighid. Or you can simply use it as a rite of protection. You can perform this rite after undergoing a purification such as smudging or saining yourself with smoke from mugwort or vervain.
For this ritual, I would strongly encourage the entire formality of designating sacred space. This will lend focus to your intention, as well as inviting the powers of the ancestors, the three realms, the spirits of place and more to your rite. Choose something that symbolises protection for you, a talisman if you will: something strong and durable, something that will “shield” you physically, spiritually and psychically. You can make a shield yourself, using whatever materials you prefer. This doesn’t have to be a full-body protecting hunk of steel, but again can be symbolic; you can make one out of papier maché to keep near your altar, should you so wish. You might wish to use something natural that you can carry with you, such as a stone or crystal, or even say the poem over a pendant bearing the triskele or triquetra symbol, reflecting the triple nature of Brighid. There are many ways you can use this; be creative!

Rite of Protection Using the Shield of Brighid

Set up and designate your sacred space. Once you have done so, sit or stand for a moment and breathe, focusing your intention on what is to come. Visualise a glowing light beginning to emanate from within, centred on your chest. This light reflects the light of the moon, or the light upon water, or the light of a flame. The energy from this light is not hot, but cool, flowing through you and filling you with strength and confidence, as well as compassion and love. Raise your arms to the sky, drawing down the power of the sky and the full moon. Then hold your hands out in front of you, and draw in the power of the sea, and the highest tide. Finally, hold your hands to the ground, and draw the power of the land into yourself, the serpent energy that courses and connects everything to each other. Stand fully upright once more, noting how the light emanating from within you is even brighter now. Take that light within your mind, and form it into a circle or sphere of light around you. Visualise that light encompassing you, shielding you. If you have a talisman to represent the shield, hold this aloft and still visualise the circle around you. Then say the following words, from “The Descent of Brighid” from the Carmina Gadelica, feeling free to adapt or leave out the Christian influence:

Brigit daughter of Dugall the Brown
Son of Aodh son of Art son of Conn
Son of Criara son of Cairbre son of Cas
Son of Cormac son of Cartach son of Conn.

Brigit of the mantles,
Brigit of the peat-heap,
Brigit of the twining hair,
Brigit of the augury.

Brigit of the white feet,

Brigit of calmness,
Brigit of the white palms,
Brigit of the kine.

Brigit, woman-comrade,
Brigit of the peat-heap,
Brigit, woman-helper,
Brigit, woman mild.

Brigit, own tress of Mary,
Brigit, Nurse of Christ, —
Each day and each night
That I say the Descent of Brigit,
I shall not be slain,
I shall not be wounded,
I shall not be put in cell,
I shall not be gashed,
I shall not be torn in sunder,
I shall not be despoiled,
I shall not be down-trodden,
I shall not be made naked,
I shall not be rent,
Nor will Christ
Leave me forgotten.

Nor sun shall burn me,
Nor fire shall burn me.
Nor beam shall burn me.
Nor moon shall burn me.

Nor river shall drown me.
Nor brine shall drown me.
Nor flood shall drown me.
Nor water shall drown me.

Nightmare shall not lie on me,
Black-sleep shall not lie on me.
Spell-sleep shall not lie on me,
‘ Luatha-luis ‘ shall not lie on me.

I am under the keeping
Of my Saint Mary;
My companion beloved
Is Brigit.

Let the words sink into the air around you. Let them suffuse the light that encircles you with their power. When you are ready, draw the circle of light that surrounds you back into yourself, centred on your chest. If you have a special talisman that you’d like to infuse with this energy instead, draw the circle of light that surrounds you into your talisman. When all the light has gone where it should, stand for a moment and see how this makes you feel. You can test the circle of light, by holding up your dominant hand (right if you are right-handed, left if you are left-handed) and immediately bring the circle of light back around your being. See it spring back up with ease, to surround you and protect you. If you are using a talisman, see it coming forth from the talisman. You can call and release this power as you wish, as you need. It is not something to be played with, but something real, an energy being focused around you. You are connecting with the power of Brighid.
When you are satisfied that you have the protection you need, it is time to reciprocate and leave an offering for what you have been given. As the lady of poetry, smithcraft and of healing, an offering related of one or all of these would be suitable.
Close down your ritual, and renew this rite of protection whenever you feel it necessary.

This ritual is an excerpt from my latest work, The Book of Hedge Druidry: A Complete Guide for the Solitary Seeker, published by Llewellyn Worldwide.

(c) Joanna van der Hoeven 2019

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Reviews: The Witches’ Oracle and A Spellbook for the Seasons

When I received The Witches’ Oracle, I thought that the cover looked familiar. When I opened it up, I knew why: I had this very deck that was released around twenty years ago! Originally called The Wicca Pack, this wonderful deck has been re-released by Eddison Books as The Witches’ Oracle.

In actual fact, this was the first deck that I had ever bought about a decade into my Pagan journeys. And it was so easy to work with, and so accurate for my readings, that I’ve kept it all these years. This new version comes in a beautiful box with a picture of the Witches’ goddess, Aradia on the cover. They have streamlined the book now to correlate only to the deck, and have taken out the Wiccan practices that was in the original book. This makes sense, as now there are so many good books available on Wicca that you don’t need to combine the two.

I love these cards. The artwork is by Danuta Mayer, and it was written by Sally Morningstar. The new deck has cards the same size as the old deck, but these have a nice border which means that the artwork won’t get affected as much through decades of use. It contains cards that relate to Wicca and Witchcraft, such as the ritual tools used, animals and deities. It is certainly a very “witchy” deck, and I love it.

The book does contain a little more information than just the cards and their interpretation, such as a short history and tradition section, before diving right into the card meanings. There’s a final section on how to use different spreads. All in all, this is a wonderful deck, and I love both versions that I now have J

I also received A Spellbook for the Seasons, by Tudorbeth (aka Sarah Coyne). I have to say, I LOVE what they are doing with books these days. They are making books so beautiful again! This lovely hardcover comes filled with gorgeous artwork inside, and it truly is a pretty thing to have and to hold.

The layout of this book is quite different from other compendiums I have come across. It contains the usual material, such as the Wheel of the Year and the festivals, along with spellwork. What is different is that the author has chosen a different pantheon of deities for each section, such as Norse for winter, Celtic for spring, Greek for summer and Roman for autumn. This is a good introduction to different deities and allows the opportunity to work with different pantheons each season, and may bring new gods and goddesses into your work that you have never come across.

This book contains ceremonies that are coven-based, but which can be adapted for solitaries. Other ideas you might find in this book are things like a Sage Water House Cleanse for autumn, or a Sun Day Love Spell for summer. There’s an Ostara Magic Salt, and a Winter’s Morn strength spell. There’s a seasonal garden section, and a crystal section. All in all, this is a very attractive book, which may inspire you on your own magical journeys through the seasons, and is just a delight to flip through on a rainy day to cheer up the heart as well.