The Proof Of The Pudding

Somehow I missed the usual social media ruckus around St Patrick’s Day this year. I’m not entirely sure how, as it wasn’t intentional. But somehow I did.

(Algorithms. It was probably the algorithms.)

A week-or-so later though, my feed was full of it. All the same arguments, all the same misconceptions recycled from year-to-year. And of course, I also saw the same people valiantly wading in to stem the tide of bad information.

You know, the usual story.

Arguing about this stuff seems to have become something of a tradition nowadays, and an unwanted one at that. Once upon a time, I would have been out there as well, but nowadays I’m just glad to have missed the whole thing. (If only the same were true for Ostara!)

You see, one thing I’ve realized over the years is that these arguments really aren’t about the topic at hand for the most part. In my experience, they’re usually about something much deeper. And until we address that something, no amount of good information is going to turn back that tide.

Conversion

As I explained in this previous post, facts and logic do poorly against narrative. Unlike data, story is an immersive experience that speaks to both the heart and the mind. A well-crafted story can summon tears and devastation, affection or hatred for protagonists, exultation and joy. But if we’re not careful, a story can become bandaid for whatever bits of brokenness or lack we perceive in our lives and selves. Other times, stories can function as narrative bridges between our areas of perceived lack and what we think we need to feel whole. I have no way to prove this, of course. But I suspect that this is what underlies much of the modern Pagan/Heathen tendency to cling to inaccurate narratives.

Nowadays, religious conversion is mostly thought of as a ritual. Depending on the faith or denomination in question, there may be some training beforehand. But even in those instances, it’s still the ritual that makes the convert. A few words and a Jesus-powered supersoaker to the face (or whatever), and boom, you’re saved!

Sounds simple, right?

If only! Unfortunately, that blessed bukkake is really just the beginning of a constant and unending process. Real talk, but pretty much none of us—even those of us who’ve been doing this for decades—will develop a truly Pagan/Heathen worldview within our own lifetimes. That’s not just me being negative, it’s the truth. In this case though, I think it’s pretty freeing.

Believe it or not, but it took the early English church centuries to fully stamp out the Heathen worldview among their people. Conversion wasn’t just a case of some monks rolling up, selling people some Jesus, and everything falling into place. Christianity was largely an alien worldview to them. All of which meant the church first had to build entire conceptual frameworks to fully transition their flocks to their new faith.

So, why would we expect it to be any different for us now? If anything, I would argue our path is much harder after a millennia-and-a-half of Christianity shaping our cultural default. (And yes, that includes the parts we consider “secular” as well.)

Conversion: Hard Mode

Those aforementioned challenges aside though, the early English church had something we don’t—something that gave them a serious advantage.

They had the support of a religious institution with at least a few centuries already under its belt.

It’s never easy stepping onto a new path, but it’s much harder when that path is either doesn’t exist or is mostly buried under dirt. There’s a saying that the difference between dialect and language is an army and navy. I think we can apply a similar framework here too.

So, what is the difference between a religion with roots and whatever “dialect” we have? Well, fully developed systems of support and institutional control, for a start. Clear boundaries that—yes, contain—but also comfort and convey a feeling of certainty to those on the inside.

A Catholic (for example) never has to worry about whether they’re “doing it right” or the veracity of a saint’s hagiography. Not only do they have religious training in the form of catechism classes, they have various flavors of clergy to guide them as well. Their religion boasts entire toolboxes of responses to the uncertainties of life. Set prayers and rituals, a constellation of saints for whatever the need, and the many benefits that come with a somatic practice like praying with beads. Finally, they have the comfort of belonging to a tradition that stretches through time, and the sense of security that can bring.  (#NotAllCatholics)

And as long as they stay within the boundaries delineated by their church, they never need to worry they’re doing it wrong, or whether what they’re doing is even <em>real</em>. And why would they? The Roman church is old as shit. And as we all know (heavy sarcasm here) age always confers legitimacy.

Now, consider our own traditions, practices, and communities for a moment—our various toolboxes for this journey through life. What do we have, and what do we lack? All things considered, I think it’s hardly surprising that so many of us cling to false narratives and dream up links to ancient traditions. Belonging, security, and connection are after all core human needs.

Walking A Path With No Path

Another story now.

I’m old enough to remember when Triumph of the Moon by Professor Ronald Hutton made its way into the world. I’ve never been Wiccan in the modern sense (the OG definition though, is another matter). But I can only imagine how it must have felt for those who were at the time. Here was this scholar disproving the foundational lore of their tradition—lore that had no doubt gave many of them that sense of belonging and connection to older roots. (With all the security and legitimacy that apparently implies).

I could go on about the downstream effects of this shift, but that would be one hell of a digression. More to the point though, it would also likely lead back to arguments surrounding historicity and legitimacy when I think we’d really be better off looking for the proof in the pudding instead.

Where I’m from, any dessert can be “pudding,” therefore I dedicate this spot to a piece of lemon pound cake.

You probably already know the old saying that “The proof of the pudding is in the eating.” Simply put, you have to try something to know its flavor or worth. Is it good? Bad? Does it belong in the bin, or can it be saved? This is what I’ll be referring to as “pudding proof,” from here on out.

Now obviously, Hutton’s Triumph of the Moon didn’t break Wicca. Like I said, I’ve never been that kind of Wiccan myself, but I suspect there was enough pudding-proof to sustain the tradition regardless. In other words, the pudding proved good enough in the eating to keep making it.

Hooray for that Wicca-pud!

But what do I mean by “pudding” in this context? Well, it’s your rituals, workings, and practices. But more importantly, it’s the results and experiences you get from them.

Sir, Your Pudding Is Lacking!

Now, that may sound like “hopium,” but really it’s not. Once upon a time, even the Roman church was new. Their path wasn’t just wrecked or hidden, they were cutting it as they went. Christianity was far from the “full-service” religion it is now.

The Pagan shrines and temples on the other hand were community hubs, offering services like healing, oracular wisdom, dream incubation, and divination by lots. They were places of poetry and music, drama and dance, art, sculpture, and rhetoric (MacCullen, p. 150-159).

So you know, pretty neat places to hang out.

The cults the early Christians left had centuries-old rituals, entire languages of symbolism and ritual gestures. They had play, dance, and celebration—all of which were missing from the new Christian faith.

Hell, they weren’t even supposed to light candles in their churches unless they needed light!

“We do not light candles, as you vainly and untruly allege, in the daytime but only to lessen the darkness of the light. And bear in mind that we are not born Christians, but reborn: and because we once worshipped idols, are we now not to worship God? —lest we appear to venerate him with the same honors accorded to idols?”

Jerome to Vigilantius, 4th/5th century (MacCullen. P. 116)

Even something as foundational as prayer was an unknown language to them. They knew how to address the older divinities through speech, song, sacrifice, and dance, but their new god was entirely another matter (MacCullen. 150-159). The line between piety and idolatry was still taking shape.

But do you see what I mean? The early Christians were once where we are now (albeit traveling in the opposite direction). They, too, felt gaps in their new faith—areas of lack that sent many-a-convert back to their local Kalends and New Year’s celebrations (Ibid).

The question now then is what kept them on their new path? Obviously, the threat of persecution would come to play its part, as would the eventual transition to a “full-service” religion. But what about for those who were Christian before they won an emperor to their faith?

On Pudding Proof

Well, this is where that “pudding proof” I mentioned earlier comes in.

Again much like us, the early Christians couldn’t exactly make appeals to history or tradition. They would have been sitting on a throne of lies and they knew it. So how does a religious new kid on the block attract converts and keep them?

They focus on who is right, on whose god is a true god as opposed to a demon.

In other words, the early Christian case for conversion hinged on proving their “pudding” was good (MacCullen. p.11-12).

The Demon In The Martyr’s Pudding

According to Peter Dendle in Demon Possession In Anglo-Saxon England, exorcism was one of the main “selling points of early Christian evangelism.” Yup, much like today, turfing out demons was one of their main (if not the) kinds of pudding. A point the 2nd century bishop Irenaeus also acknowledged (Dendle. p. 54).

Now curiously, tales of demonic possession and exorcism are arguably absent from in Greco-Roman sources prior to the first and second centuries (Dendle. pp.52-53). That’s not to say that there weren’t any, of course. But the earlier references that do possibly exist are hotly debated by scholars.

The first clear example of possession and exorcism in Pagan literature appears in a 2nd century account of a Syrian exorcist from Palestine, suggesting these beliefs had their origin in the near east (Ibid). That may seem a leap until we consider the writings of the second century philosopher Plutarch. Not only did he feel the need to interrogate the origins of such beliefs, implying a lack of familiarity with them on his part, he presumed a non-Greek origin from the start (Ibid).

Weird, that!

It kind of reminds me of how the possession and exorcism narratives in early English sources were all written between the 670s and early 700s (Dendle. p.170). Though there are some later mentions, they are only ever in passing—usually while referring to a saint. A far cry from the dramatic tales of those earlier times. I’m sure that Pagan resurgence post the plague of 664 was also just a coincidence—just like that suppression campaign by the Christian kings beginning around 650 (Dendle. Pp. 146-148). Probably all just coincidence.

Right? All I’m saying is it just seems a bit convenient, you know?

Well anyway, back to those early Greco-Roman Christians. You see, not only were they slinging this (probably) new-to-their-target-audience kind of “pudding.” They marketed themselves as the best demon-pudding slingers to boot. According to the second century martyr known as Justin, Christian exorcism was the only kind that always workedeven when the possessed person was a Pagan. While he conceded that exorcisms done in the name of Abraham/Isaac/Jacob/God might sometimes work, only those done in Jesus’ name were certain of success (Dendle. p. 54).

“Just Justin!”

The demon, the mark, and the audacity of that zealot, amirite?

Ironically, Justin went on to literally lose his head for the crime of impiety. As someone who refused to offer to the gods, he was considered an atheist. After all, that Pax Deorum (“peace of the gods”) wasn’t going to do a Pax Romana (“peace of Rome”) without some offerings greasing the wheels (Kirsch. pp. 108-109). From the perspective of Roman society, the dude was falling short of his civic duty, so it was off to the forever box with him. (Click here for an account of his trial.) 

“Oh, miserable men! If you wish to die, you have precipices or halters.” 

Roman proconsul stuck dealing with people like Justin.

Sourcing, Tweaking, And Tossing Pagan Pudding

But what about our Pagan Pudding? We already have quite a lot (some of it actually good), but something tells me the recipe isn’t quite there for a lot of us. So, what now?

Nowadays, we have an entire genre of horror linking Christianity with possession and exorcism narratives. The early Christians though, were far from the first demonologists. People in the ancient near east had been casting out demons for millennia before the advent of Christianity. I mean, the ritual technology of exorcism was first attested in Sumer from around 2500 BCE (Dendle. P. 42).  Borrowing has long been a source of “pudding,” and frankly the same can be said for just making shit up. How many of those early exorcism narratives do you think were true, and how many were bullshit? Given the convenient dating of those narratives, I’d say the answer to the latter part of that question was “a lot.”

Having said that, there can be a fine line between invention and inspiration, especially when we walk that line in a playful manner. Play often makes doorways for true inspiration where it would otherwise struggle to slip in. We should lean into it! It also needs to be said that there’s nothing inherently wrong with outright making shit up either. Read up on basic ritual structure and magic, and you can make some really excellent pudding! We just need to be honest about what we’re doing.

For me personally though, the rubber really meets the road when working in collaboration with the Dead, Divine, and Otherworldly. Over the years, I’ve been lucky to have teachers in each group and have received some absolute gold from all three. Pretty much all of my experimentation revolves around inviting that collaboration, deepening those connections, and finding ways to intensify my experiences. I may jokingly refer to it as “magical FAFO”, but in truth, it’s the work of relationship and revival. A sacred thing.

No matter the source of our “pudding,” however, we do have to actually give it a try once made. This may seem obvious, but since becoming an author, I’ve had more than a few folks express genuine surprise that I test everything I put out into the world.  So clearly, the expectation of testing isn’t universal when it really should be.

Another important point: we need to be honest about our results, even if only to ourselves. Here I’m reminded of the saying that “tradition is not the adoration of ashes, but the preservation of fire.” Now, this may just be me, but I feel like a lot of us have piles of ashes we should really toss out. And yes, that does also apply to the practices and rituals we perceive to be more historically accurate (ergo “legitimate”) too. If it ain’t working, it ain’t working. Sometimes we may tweak and find an ember to kindle; other times though, they’re just plain dead. (Assuming they even worked in the first place.) Either way, we need to be clear-sighted about what we have and to act accordingly. All these piles of dead ashes do for us in the end is waste our time and take up space.

Perceptions Of Worship

Equally important to consider is how our former religions have shaped and continue to shape our understanding of worship, for that, too, influences the pudding we make. For the Pagan of Rome “joy was worship,” to quote Ramsey MacMullen. ”At the Kalends or Attis day as at Easter, it was an offering of faith to show one’s happiness” (MacMullen. p. 109).

Now ask yourself, when was the last time you felt true joy in your worship? What about love? When was the last time you sang to your Holies, danced, played an instrument in their honor, or engaged in sacred play? More importantly, how do you feel when you think about those things?
What feels “allowed” or “proper” to you within the context of worship, and what feels “taboo”?

Because I suspect a lot of us are still closing ourselves off to some degree, perhaps giving ourselves over to instinct and inspiration only rarely. While I believe my holy powers are patient and fully understand that humans now are not as they once were, I also often find myself wondering whether we can truly worship any divinity with a heart half-caged by the “Thou shalt nots” of another faith. And the whole thing just makes me feel so sad for us all, you know?

In many ways, we’re just like those early Christians with no idea how to pray, and no real systems of support. But unlike them, we also have to contend with the added challenge of materialism as well. That, too, has shaped our modern consensus. In some ways, the line between “acceptable” modes of worship and “THESE PEOPLE ARE FUCKING CRINGE/INSANE/WEIRDOS” has never been finer. And the upshot of this? Well, how often do we see aesthetic put before devotion? In other words, often people worry more about how a ritual or practice looks than what it actually does.

Final Words

Believe it or not, I didn’t write this to make you feel hopelessquite the opposite! Our paths may currently suit goats better than humans, but that doesn’t make them impossible. No, I wrote this because there is a way forward. We just have to lean into the doing—eat that pudding and keep tweaking until it’s actually good.

Simply put, our rituals and practices need to connect us to something bigger, however that looks for us. If we’re going to survive, we need pudding that’s good eating, and lots of it. Oh, and our spells need to get the goods as well.

Because at the end of the day, it’s experience and relationship that really grow and sustain a faith. So, the sooner we stop looking to history for legitimacy, the better. Now, don’t get me wrong; I fucking love history and often find it sparks inspiration. But those sparks need feeding, and all our wood is decidedly modern. Moreover, as I said at the beginning, a lot of people also mistake history for a bandaid for lack, which can then leave them susceptible to false histories and fake lore.

Far better to focus more on the doing and see what rolls out. After all, it worked out well for the Christians.

Now, go stuff yourself with pudding. (And I hope it proves good.)
Bon appetit!

Books Cited

Dendle, Peter. Demon Possession In Anglo-Saxon England.

Kirsch, Jonathan. God Against The Gods.

MacCullen, Ramsey. Christianity And Paganism In The Fourth To Eighth Centuries.

Algorithms

Algorithms.

They’ve just become an accepted part of life, right?

Yet another thing putting adverts in front of our eyes trying to get us to buy more. That unseen force that compels us to add a photo to social media posts as “tax,” so more people see what we have to say.

They even often shape what and how we say what we say.

Take this post, for example. Like the vast majority of blog posts, I’ve tried to write it to make the algorithms happy. I’ve kept my sentences short and have used as much active speech as possible – anything to keep Yoast happy, right?

Twenty words or less per sentence, that’s the standard.

When you really think about it, it’s messed up, but it’s become our norm all the same.

Billions of voices all writing in lockstep with algorithms, all producing a product called content.

You know—that thing I’m doing right here with this post.

Algorithms as Demons

A while ago, I listened to an episode of a podcast called Team Human that discussed algorithms. It was an interesting conversation because it was taking a look at algorithms through the framework of demonology.

No one is saying algorithms are actually demons, of course. Just that, as Mark Pesce argues, algorithms share certain characteristics with demons, or at least a certain view of demons.

To quote the Medium essay I’m using to refresh my memory:

”What might you call a creature that feeds on your energy, knows your weaknesses, and can tamper with your emotional state in ways that compel you to act beyond your best interest? Centuries ago we might call this a demon. As algorithms are programmed to exploit humans in order to do their bidding, perhaps it’s time to interrogate the Faustian bargains we make each time we sign up, log in, and click thru.”


In an age of online occult influencers, this has become a helpful framework for me when navigating matters of authenticity and content. What do we lose when we tailor our content to appease the algorithms enough to be rewarded with virulence? When we aid the algorithms in their exploitation?

A Faustian bargain indeed!

Algorithms and Authenticity

Unfortunately, this bargain is a tough one to break. We live in an economy where the production of such content is often tied to the economic survival of the creator. And herein lies the biggest problem with the commodification of creativity: products are created for customers. Appease the algorithms and your work gets in front of more people. Appease the people, and hopefully that translates to dollars.

Those all-important dollars that keep a roof over your head, clothes on your back, and food on your table.

Those are some pretty hefty motivations, right? They’re downright existential.
But (and this is question I find myself returning to from time to time) what of authenticity?

Because here’s the thing about writing spiritual content (horrible term, but I’m going with it). It is, by its very nature, personal. It’s intimate and subtle in ways that blog posts about chimneys or recipes for cakes are not.

(Please, for the love of Sweet Baby West Virginia Jeebus, Karen, no one wants to read about your fifteen kids! Or your upholstery business. I get there are good reasons why you do this, but please, do the world a solid and add in-page links to the recipes? Sincerely, Everyone.)

Anyway, back to the topic.

For these reasons, one would always hope that content discussing spiritual matters comes from a place of authenticity within the creator. Except I don’t see how it can when survival for so many depends on increasingly getting caught in a trap of uniformity and writing to order vs giving voice to what’s actually in our souls.

But we’ve made our pacts, it’s time to make the best of it.

Walking the Balance

For me, creativity is a whole-making, inspirited thing, and the inspiration that fuels it, sacred. There’s almost an element of horror for me when I consider this issue. Because if creativity and inspiration can be spirit work (and for me, my various souls are also spirits in their own rights), then what of them in all of this? How do they dance with the algorithms?

At times, I think they dance well together. Sometimes the stories and ideas those spirits want to get out mesh well with the algorithms. Other times, that dance is hard. That line of appeasing algorithms and audiences can become a noose while remaining true to those stories and ideas.
Of course, none of that erases any of our existential needs. Bellies still need filling and bills still need paying.

The key then perhaps is being mindful of the dance and striving for balance.
According to Douglas Rushkoff, creator of Team Human, weirdness is our best weapon. So perhaps sprinkling in some authenticity by way of letting your particular brand of freak flag fly is the way to go? (But be careful to be authentic with your weirdness for that too can also be commodified. I know, I fucking hate this world for shit like this.)

Embrace your weird, talk about your fuck ups, be subversively human.
(Just remember to use the active voice and do it in twenty words per sentence or less.)

And if you can, don’t be afraid to ignore the current discourse du jour unless it’s something you actually care about.

Final Word

The purpose of this post wasn’t to make anyone feel bad. It was a call to my fellow authors and creators to think about that line where appeasement and authenticity meet in our work. There are plenty of other conversations to be had here too. Such as platforms and responsibility, social media and mental health, and honoring our comfort levels and authenticity while trying to make that cabbage. Today though, I wanted to talk about the dance we often find ourselves performing for the algorithms. It’s quickly paced and can be exciting at times, and it’s easy to get swept up—especially when people begin to copy you.

But don’t forget you have your own steps too. They also need to be danced if you want to keep yourself whole.

Omens: The Otherworldly And Odin

An Opening of Omens

If you’ve ever watched Chilling Adventures of Sabrina, you may remember an episode that begins with a few seemingly inconsequential happenings. These are subtle things that range from the way a loaf of bread splits while being baked in the oven, to a broken mirror in an empty room.

Omens can be tricky things, especially when they’re subtle. How to know whether that flock of birds fighting in the parking lot is an omen or just some avian drama? Or what about the vultures that scream at each other so loudly you can’t help but look outside? (Double points if they fall silent as soon as you “get the message”.) Are those crows really sent by the Morrigan or those ravens of Odin? And what’s with that sudden, unseasonal influx of black insects in the home?

“Speak rede, birb!”

These things tend to be subtle—until they’re not.

“Human Omens”

So far, the omens I’ve described are quite traditional. People have been reading the movements of birds and insects (among other things) for a long time. But one thing we don’t seem to read as much when it comes to omens, is the behavior of other humans.

We humans often make plans and telegraph what we’re about to do next. That’s not the kind of thing I’m talking about here though—as always, we deal with subtleties. The kinds of human behaviors that interest me are those that aren’t quite so consciously realized.

So, what do I mean by that?

Inspiration, Creativity, and Prophecy

When I get the sense that something is stirring on a subtle level, one of the first places I look for omens is our collective “fruits of inspiration.” So, in other words, I look to what our writers and artists are putting out, both in our communities, as well as in larger media productions. I’ve discussed this before on this blog and will talk about it in more depth in my upcoming class, but inspiration is a deeply strange and other thing. In its purest form, it originates from outside the human (as least in the traditions I practice). And out of the three different sources of “human omens” I will detail in this post, this is the one that can also serve as a heads-up that something is brewing long before anything even begins.

Take this passage from the commentary in Jung’s Red Book, for example:

“In the years directly preceding the outbreak of war, apocalyptic imagery was widespread in European arts and literature. For example, in 1912, Wassily Kandinsky wrote of a coming universal catastrophe. From 1912 to 1914, Ludwig Meidner painted a series of works known as the apocalyptic landscapes, with scenes of destroyed cities, corpses, and turmoil.” (Jung Carl and Shamdasani Sonu, Pp 18-19)


World War I, a conflict that would claim around 40 million lives, broke out in July 1914. Yet artists and writers were examining those themes—sometimes with eerie accuracy— years before the first shots were even fired.

Dreams, Intuition, and Divination

The second source of “omens” I look to is my friends. Usually, by the time I get the sense that something is stirring, it’s not long before people start hitting me up if I don’t get in touch with them first. Whenever this happens, I ask about dreams and intuitive hits, as well as any divinatory themes they may be getting. When it comes to prophecy, the image of the seer prophesizing from a high seat is a powerful; it’s what we tend to imagine when we think of prophecy. But if you look back at some of the disasters that have plagued human history, there are often examples where multiple people have begun to dream about the same kind of horrific themes right before something awful happens.

My preference is to view these things in aggregate, with an eye to spotting patterns or themes. And when you get down to it, this is not so different from the process that comparativist scholars engage in when working to trace early Indo-European beliefs and practices through multiple descendant cultures. One a very basic level, you’re looking for frequency as well as cross-cultural examples—especially in cultures that aren’t known to have interacted with each other. Here, I’m looking for frequency as well as cross-tradition examples, and especially in groups of people who don’t know each other. Those are the patterns and themes that interest me the most—even if they run counter to my own experiences and impressions.

Strange Behavior

Finally, the third source I look to, is strange behavior (albeit with some caveats).

In Germania, the Roman writer, Tacitus, wrote about a form of omen-taking from observing the behavior of sacred horses. Unfortunately, I don’t have any horses, sacred or otherwise. But over the years, I have found the observation of my fellow humans to be similarly effective.

Again, we’re talking about subtleties here. But we humans are no less affected by subtle energies and the stirrings of the unseen layers of our world than our fellow inhabitants of Middle Earth. We are no less a part of nature and no less animals for all our plastic and technology. And I’ve found that many of us will subconsciously react to changes in energy as well as whatever-the-hell our gut instincts are telling us at the time. Unsurprisingly, our behavior will often show it too.

I’m reminded here, of my epileptic brother’s behavior in a famously haunted house that stopped as soon as he was removed from the premises. Before my mother wrestled him out the door though, his behavior had become animalistic; he’d taken to the floor on all fours, barking and growling at the tour guide and fellow (ghost) adventurers.

Now, people do strange things all the time. But when you’re finding a lot of unrelated people behaving similarly, it’s time to pay attention, especially if you cannot discern a common cause. And again, in my opinion, this kind of thing is best observed in aggregate and with an eye to spotting patterns. Speaking of patterns: my brother apparently wasn’t the only person to have behaved like that in that space.

In other words, if the tour guide were to be believed, there was a pattern of some people exhibiting animalistic behavior at that site.

That was an extreme example, and I clearly cannot prove that my brother behaved like that due to the unseen of that place. But I do hope you understand what I’m getting at here.

The One-Eyed God on the Road

This all brings me to some of the possible omens I’ve noticed recently. On the one hand, there have been multiple strange conversations with neighbors about an increase in shadow people that “don’t move like shadow people” in the street. (Think less “dart-y” and more “people-y”.) Friends have told me about incidents where they have an experience of “pareidolia” that sounds more like glamour, and that leaves them in doubt of what is actually “real”. Other friends have told me about seeing critters that aren’t there. And a bunch of people are telling me about the disturbing dreams and messages they’ve received of late. Some of these things I’ve also experienced for myself.

These, to me, all have something of an otherworldly feel to them. As does the recent killing of the white stag by armed police in Bootle, UK. (Side note: probably a bad move to kill beings associated with the otherworld when your country is looking at food and fuel shortages.)

But I’ve also noticed that a certain one-eyed god seems to be getting around a lot more nowadays too. More people (some of whom have never interacted with him before) are now telling me about their interactions with him and asking for advice. I’ve felt driven to write about him in great depth. An entire Heathen community performed a days-long ritual in his honor, erecting a 20ft god post. And for two Wednesdays in a row now, there’s been news that’s felt pointed in either its direct association with him (such as the announcement of this hoard of bracteates), or associated symbolism (such as the suspected electrical fire at this “Midgard’s” church on the island of Grímsey). Then today (as of the time of writing), this video of a Spiritualist who allegedly channeled Odin was shared in a group chat I’m on.

 

The bread has split, the ink has spilled, the mirror in the empty room is broken. But what could it mean?

Winter is Coming, Winter is Here, Winter is Coming Back for Another Go

I’ve followed the Old Man for over a decade and a half now. But even though I am very much “Team Odin”, I also know he has a tendency to become more prolific during “interesting” times.

Take the Migration Period, for example.

The Migration Period was not an easy time to live in. Peoples migrated and fought over resources. A volcanic eruption in 535-536 caused a dust veil thick enough to darken the sun enough that crops failed for at least two years in a row. And in those days of death and desperation, the warband religion of a certain one-eyed god of spears seems to have made its way north and into the elite centers of power.

Before that (in another time of death and desperation), his hands were probably guiding the spears of the Germans and Celtiberians led by a couple of one-eyed leaders who fought against Rome (Enright 217-240).

And before that, who knows?

Something tells me though, that it was probably another time of death and desperation. With this in mind, this new rise of the Spear God doesn’t exactly fill me with comfort in our time of plague, climate crisis, and burgeoning far right movements.

Death Will Make a Door

The final point I want to make today, is that times in which there is a lot of death, are times in which the dead and otherworldly tend to draw closer. If you’ve ever read about times of mass death in human history, you may have noticed that there are usually a lot of strange goings on reported during those times, as well as humans getting involved in strange cults and practices. If that kind of thing interests you, here are some folktales from the time of the bubonic plague. Pay attention to the kinds of beings sighted in conjunction with the plague, as well as the plants and days mentioned in the purported cures. Some of them are downright other.

They really shouldn’t have killed that stag.

Until the next time, good humans!

Be well.

Books Cited
Enright, Michael J. Lady with a Mead Cup: Ritual, Prophecy, and Lordship in the European Warband from La Tène to the Viking Age.
Jung, Carl and Shamdasani Sonu, The Red Book/Liber Novus: A Reader’s Edition

A Furious God and Father of Charms

Furious Witch is Furious

The first time I cursed someone by accident I was angry. No, scrub that – I was furious. It was the kind of rage that heats the blood and causes the body to shake, to drive that pre-fight shot of adrenaline up the spine. And before I knew it the words had taken flight from my tongue, fully formed before I had even realized they’d been marshalled and ready to depart.

I’d felt it too at the time. There was the sensation of something leaving, something being unleashed into the world, and I knew then and there that what I had spoken into the world would come to pass; that my victim would fall from his ladder at work.

I remember then rushing to work protective magic on the person I’d cursed. You see, I didn’t really hate them, and I really didn’t want them to be hurt either. I was still young in my craft back then and my fury had been the one in the driving seat.

The next day the target of my wrath experienced the effects of both my curse and protection. He fell from his ladder at work while cleaning the top floor windows of a house and walked away completely unharmed. His boss was so shook up by the entire thing he gave him the rest of the day off anyway and sent him home.

This isn’t a boast. If anything, I’m not particularly proud of this moment. There is no ‘win’ here, just a loss of control that could have potentially seriously hurt someone I didn’t actually want to hurt. But it is a memory that has been coming up of late as I’ve been digging into the relationship between inspiration, fury/frenzy, and charms.

Furious Gods, Inspired Gods

As both a writer and magic worker, inspiration forms an integral part of my practice. In my fiction I birth new characters, and commit to word the speech of beings who I am fairly sure existed long before my birth and who will still exist long after I am gone. In magic…well, maybe in another post (this one is super long).

I’ve written about Óðinn/Woden here before, of his wisdom and relationship to breath. Without a doubt he is the god who has had the greatest influence over my life, answering my prayers and gifting to me in return in every land I’ve ever lived. But there is one element of this god that hasn’t really made sense to me until relatively recently, and that is the collocation between fury/frenzy and inspiration.

Óðinn’s connection with the poetic (and by extension, the inspiration that makes poetry possible) is quite well established in the lore. In Skáldskaparmál, it is Óðinn – or as he is also known, Fimbulþulr (Mighty Poet/Mighty Speaker) – who steals Óðroerir, or the ‘mead of inspiration/poetry’ from the giant Suttung (Price 63). It is because of him (at least according to the Prose Edda), that any of us even have any poetic ability at all (even the bad poets, who apparently are the recipients of the mead Óðinn shat out while escaping Suttung – seriously, look it up!). Yet as the myth makes clear, he is not the source of inspiration but its liberator – he too had to acquire it.

Egill – the man, the legend.

Óðinn’s association with the poetic and inspired seems to have persisted outside the mythical realm as well. In the sagas we find the famous Viking Age poet Egill Skallagrímsson, the protagonist of Egils Saga. Egill was a quintessentially Odinic figure, a warrior-poet who had knowledge of runes, was possessed of a berserker’s wrath, and carried one of Óðinn’s heiti as a compound in his name (Grímr).

Further possible support for a connection between Óðinn and poets comes from more modern criticism of the Eddas and the worldview they present (that of Óðinn as the head god who presides over a Norse pantheon). For these critics, this is a skewed perspective that was likely unknown to people who lived away from the centers of power that arose during the migration period, the ruling elites that inhabited them, and the poets they patronized. After all, what was a ruler back then without a poet to provide PR?

This is the core of the argument that scholar Terry Gunnell makes in Pantheon? What Pantheon? and From One High One to Another: The Acceptance of Óðinn as Preparation for God. For Gunnell, it is potentially thanks to the poets – those purveyors of Óðinn-centric religion – that the Eddas and the skáldic corpus survived in later years. The art of poetry was valued by both Heathen and Christian alike, and these sources may have been used as skáldic teaching texts therefore justifying their preservation.

Of course, an easy counterargument to this theory would be that the god of poets in the Eddas was Bragi and that the Óðinnic focus of the skálds could be easily explained by the necessity of pleasing their Óðinn-worshipping patrons. However, we should also note the inclusion of poetic meters such as galdralag (magic spell meter), and as Magnus Olsen argued, even dróttkvætt in magical charms – an area with which Óðinn is far more securely associated (Simek 98; Olsen 1916, “On Magical Runes”).

But we’ll get to that later. First, we need to embrace the fury.

Woden id est Furor

Writing in Gesta Hammaburgensis ecclesiae Pontificum IV, the German chronicler Adam of Bremen wrote of Woden, Woden id est furor, or “Woden, that is to say fury” (Simek 1993, 242). This is probably the most well known reference to Woden or Óðinn’s furious tendencies, but it isn’t by any means the only one. We’re going to return to this phrase and the other possible translations of the Latin word fūror later, but a translation of “fury” or “frenzy” is sufficiently complete for now.

Although best known as Óðinn (a name which may be translated as “Frenzied/Furious One”), the deity we mostly call “Óðinn” is a god of many names or heiti. In The Viking Way: Magic and Mind in Late Iron Age Scandinavia, Neil Price lists roughly 180 different heiti for the One Eyed God (depending on how you count them), which he divides thematically into 17 different categories. In the ‘Frenzy-, trance- and anger’ category, Price counts no fewer than 22 heiti or 10.5% of all heiti listed (including the name Óðinn itself) (Price 63 – 68).

Woden id est furor indeed!

What’s in a Name?

One of the most amusing things to me as a long-time worshipper of Óðinn is the tendency for those (usually on the far right) to see him as some unyielding, hypermasculine force. And as I’ve argued before, often the associations they place upon Óðinn are far more reflective of their own ideas about leadership and masculinity as opposed to what we find in the source material.

The etymology of Óðinn/Woden/Wodan/Wuotan/Wuodan (as they are all phonetic variants of the same name), is another area I believe further disproves this idea of the One Eyed God (Liberman, “Wednesday’s Father”). Not that that’s the point of this essay, but I may as well mention it while I’m here.

The name Óðinn is related to the ON adjective óðr, a word that translates as “frantic” or “furious”. In turn, óðr is believed to derive from the Proto-Germanic *wōda, a word meaning “delirious”. Also derived from *wōda and related to the ON óðr are the Gothic wods (“possessed”), OE wod (“insane”), and the now obsolete Dutch word woed meaning “frantic”, “wild”, or “crazy”.

Generally speaking, the further you trace an etymology back, the less secure and more theoretical that etymology becomes. If you notice, I used the term “believed to derive from” when referring to the Proto-Germanic root of óðr. This is because etymology at this time depth largely relies on words that are reconstructed using a series of educated guesses about things like sound changes. Words that are reconstructed in this way are written with an asterisk (*) at the beginning so as to clearly delineate them as linguistic reconstructions.

When you do trace that etymology back further to the WEUR (Germanic/Italo-Celtic) root *uoh2-tó though, you also arrive at the root of a number of Celtic language terms related to prophecy and soothsaying such as the OIr fáith (“soothsayer, prophet”), fáth (“prophesy”), and the Welsh word gwawd (“poem, satire”).

Interestingly, despite the degrees of linguistic separation that stand between the Celtic descendants of that WEUR root and ON óðr, the meanings of the noun óðr occupy a surprisingly similar semantic field as their Celtic counterparts on the other side of the language tree. As a noun, óðr may be translated as “mind”, “feeling”, “song”, and “poetry”. This is the óðr that is the third of the life-giving gifts to Askr and Embla.

All words for mutable, intangible qualities bobbing around in the shifting sands of etymology, but a remarkably consistent picture all the same.

Furor?

Which brings us quite neatly back to the Latin word fūror. Because although you only ever usually see it translated as “fury” or “frenzy” within the context of Woden, the word fūror carries a number of other meanings that make Adam’s choice of descriptor really quite accurate.

According to Cassell’s Latin & English Dictionary (1987, 98), the word fūror may be translated in the following way:

Fūror:  madness, raving, insanity, furious anger, martial rage; passionate love; inspiration, poetic or prophetic frenzy…

Once again, even with a word most commonly translated as “fury”, when we dig down further, we find that same collocation of fury, frenzy, poetry and prophecy as we saw in the etymology of óðr and its various linguistic relatives given in the section above.

Charm Father

As mentioned above, the art of the poet could also be turned towards the sorcerer’s art – there was even an entire poetic meter for writing spells (galdralag). Unlike with poetry however, Óðinn’s position as galdrs föður, or “Father of Galdr” (as he was named in Baldrs Draumar) is both explicit and well-established, and not just in the ON sources either (Simek 242). Woden is the only Heathen god to be mentioned in the OE magico-medical manuscripts; it is he who rests at the center of the so-called “Nine Herbs Charm” found in the Lacnunga. And it is Woden who is depicted chanting a spell over an injured horse’s leg in the Second Merseburg Charm (Waggoner, xv).

In my opinion, it is noteworthy that it is Óðinn who features in two of the most well known healing charms, especially given the normally combative nature of magical healing in Germanic cultures. Sickness was often perceived as being an invading force – often personified in some way -to be driven out or defeated, rendering the healer a magical warrior of sorts (Storms 49-54).

And this is where the various pieces of information laid out in this post begin to coalesce.

Enter The Tietäjä

For the final part of our exploration of fury, inspiration, and charms, we’re going to leave behind the Old Norse world and move eastwards and forwards in time to the lands of the Finnish magical specialist, the tietäjä (“knower, one who knows”).

The first written record of a tietäjä is relatively late, dating back to the 18th century at the earliest, However there is evidence to suggest that the “technology of incantations” that form the basis of the tietäjä’s interactions with the unseen world was adapted into North Finnic traditions from Germanic cultural influences during the Iron Age (Frog. “Shamans, Christians, and Things”).

That is not to say that the tietäjä somehow belongs to the Germanic cultural

Tietäjä Pekka Ruotsalainen and his wife. Photo by Ahti Rytkönen. Source: https://www.finna.fi/Record/musketti.M012:KK1482:315

sphere though. If scholars such as Anna Leena Siikala are correct in their assertion that the ‘tietäjä institution’ took shape in the first millennium CE, then there have been at least hundreds of years of Finnish cultural adaptation of this “technology of incantations” despite its Germanic roots (Frog. “Shamans, Christians, and Things”). Rather than looking at the tietäjä’s art as a wholesale survival of Germanic charm magic, it is the potential echoes of those older Germanic “technology of incantations” that interest us.

Throughout the course of this essay we’ve focused on the figure of Óðinn and the seeming paradox of a god of charms who is associated with poets, inspiration, fury, frenzy, madness, and berserkers (remember Egill?). I believe these characteristics provide the best clue to those older Germanic echoes that survived in the tietäjä’s art. Moreover, I believe that through examining accounts of tietäjäs (some of them from the perspective of the tietäjäs themselves) – especially where behavior is concerned – can provide important insight into working with Germanic charm material in the modern day.

The Tietäjä’s Body and Behavior

According to the account of a tietäjä recorded in 1835, the tietäjä had to possess “terrible luonto (inner supernatural force)” and anger in order to perform a charm successfully. The theme of extreme anger and violence is one that is often conveyed both in the ritual actions of the tietäjä as well as embodied by the tietäjä himself while working his magic. It is not enough to just feel enraged, one must act like it too.

Of the tietäjä’s behavior, Finnish folklorist Elias Lönnrot gives the following summary:

“the tietäjä 1) becomes enraged, 2) his speech becomes loud and frenzied, 3) he foams at the mouth, 4) gnashes his teeth, 5) his hair stands on end, 6) his eyes widen, 7) he knits his brows, 8) he spits often, 9) his body contorts, 10) he stamps his feet, 11) he jumps up and down on the floor, and 12) makes many other gestures.”

-taken from Laura Stark, The Charmer’s Body and Behavior in Charms, Charmers and Charming

For the tietäjä, fury was a source of power, and as such people took great pains to avoid incurring the wrath of a tietäjä. In one story an old tietäjä becomes so angry at a farmhand who unwittingly vandalizes his bird-trap that the farmhand goes insane. And when asked if the farmhand could be spared his fate, the old sorcerer simply tells them that it’s impossible as he became “too angry” (presumably while working his magic) (Stark, 8).

A Berserker and a Tietäjä Walked into a Bar…

There are also some interesting parallels between the tietäjä and ON berserkr here as well. Though the behavior is more extreme in the following account (a depiction of the berserker’s famous imperviousness to fire and iron), there are still notable parallels between this account and the list of behaviors compiled by Lönnrot.

“These men asked Halfdan to attack Hardbeen and his champions man by man; and he not only promised to fight, but assured himself the victory with most confident words. When Hardbeen heard this, a demoniacal frenzy suddenly took him; he furiously bit and devoured the edges of his shield; he kept gulping down fiery coals; he snatched live embers in his mouth and let them pass down into his entrails; he rushed through the perils of crackling fires; and at last, when he had raved through every sort of madness, he turned his sword with raging hand against the hearts of six of his champions. It is doubtful whether this madness came from thirst for battle or natural ferocity.”

-Saxo Grammaticus, Gesta Danorum Book VII.

Like the berserker, the tietäjä was also said to be impervious to fire and iron ( Stark, 9). There was a belief that the tietäjä had to “harden” his body, making it impervious to both magical and physical damage.This “hardness” was not only dependent on the tietäjä’s inherent qualities (such as a “hard” or “strong” luonto), but could also be achieved through incantation and ritual as well.

Hardening the Body

Much like ourselves, tietäjäs also seem to have made use of magical shielding. But whereas modern practitioners might set themselves inside a magical bubble, the tietäjä seems to have called down protection from holy powers in the form of magical iron clothing or armor.

Give to me an iron coat,
Iron coat, iron cap,
Iron mantle for my shoulders,
Iron mittens for my hands,
Iron boots for my feet,
With which I shall enter the Hiisi’s lands,
Move about in Evil’s realm,
So that the sorcerer’s arrows will not penetrate,
Nor the wizard’s knives,
Nor the shooter’s weapons,
Nor the tietäjä’s blades

(Stark, 8)

The tietäjä who was summoned to war was said to be bulletproof – “hardened” by wearing a shirt in which a corpse had been buried, or by holding a bullet that had killed someone in the mouth. One former soldier by the name of Alatt claims to have “brushed handfuls of bullets off his chest when they didn’t penetrate his skin” (Stark, 9).

Conversely, we do not know what rituals (if any) were performed by berserkers (though there have been plenty of theories suggested over the years).

Conclusions and a Question

At the beginning of this essay I began with a story of rage and magic. Of what rage can do, and what can (almost) happen when it’s allowed to burn out of control. Over the course of this study, we’ve looked at Óðinn’s seemingly disparate associations with poets, poetry, charms, frenzy and fury. We’ve dug into his heiti as well as the etymology of his name, and a surprisingly consistent collection of characteristics have emerged. From there, we shifted focus to the tietäjä and the ways in which they embodied many of those characteristics while working their charms and incantations (themselves a form of poetry). Finally, we looked at the similarities between tietäjäs and berserkers and methods used by tietäjäs to “harden” their bodies against physical and magical attack.

Though the tietäjä institution is undoubtedly Finnish, there seem to be some distinctly Óðinnic echoes here. It’s my opinion that the tietäjä’s use of fury as a source of magical power may be seen as a model for not only understanding Óðinn’s fury, but also the potential role of that kind of weaponized fury in galdr.
However, despite the meaning of his name or the 10.5% of heiti pertaining to frenzy, we never actually see Óðinn in the kind of berserker rage that is so associated with him (at least not in any sources that I can think of).

Rage is powerful – it is a source of power when chanting spells – yet without control it is just as easily our undoing as our success. The berserker wielded rage without control, becoming a danger to not only his enemies but his allies too, and was often outcast for it. The tietäjä wielded rage with control, but still often fell into the trap of becoming petty and punitive, and in some cases dooming entire families with their incantations (Stark, 11). Yet the “furious” god of many names does not seem to rage but remains the “Father of Charms”.

Now why do you think that is?

Sources

Cassell’s Latin & English Dictionary (1987)

Frog – Shamans, Christians, and Things in between: From Finnic–Germanic Contacts to the Conversion of Karelia
Grammaticus, Saxo – Gesta Danorum Book VII

Gunnell, Terry – From One High One to Another: The Acceptance of Óðinn as Preparation for God

Gunnell, Terry – Pantheon? What Pantheon? 
Kroonen, Guus – Etymological Dictionary of Proto-Germanic
Liberman, Anatoly – “Wednesday’s Child”, OUP Blog
Olsen, Magnus – On Magical Runes
Price, Neil – The Viking Way: Magic and Mind in Late Iron Age Scandinavia (2nd Ed.)
Simek, Rudolf – Dictionary of Northern Mythology
Stark, Laura – “The Charmer’s Body and Behavior as a Window Onto Early Modern Selfhood”, in Roper, Jonathan (Ed.) Charms, Charmers and Charming: International Research on Verbal Magic
Storms, Godfrid – Anglo-Saxon Magic
Waggoner, Ben – Norse Magical and Herbal Healing: A Medical Book from Medieval Iceland

Heathen Magical Perspectives: Breath

Breath is sacred to me. And not just because I rely on it to stay alive.

As a Heathen, breath was the first life-bringing gift given to humans in the poem Völuspá. These first humans (at least according to this mythological account) began their existence as “trees”. In Gylfaginning, these “trees” are found on a windswept beach, I imagine them as logs possibly washed up by the sea.

So three gods happen upon these dendrous layabouts, and decide to give them life. And this is where Óðinn steps up and breathes önd into them.

Just imagine for a moment – the cold and unyielding wood somehow coming to breathe. I have to imagine those first breaths to be creaking and harsh, possibly even painful.

But then comes Loðurr with what might have been heat and color. (I say ‘might’ here because there’s some discussion about the ‘heat’ part.) I now imagine the harshness of creaking wood softening to flesh, and those harsh gasps becoming sighs of relief.

It’s probably a kindness that Hœnir’s gift came last really. Because he gave them óðr or mind, and presumably only then, an awareness of self.

There’s a lot to be said about these gifts and their relevance to magic. Today though, I’m going mostly to focus on Óðinn’s gift of önd.

Breath and ‘Soul’

You may have already inferred from the retelling above that önd is breath, and it is. But önd wasn’t just speaking to the breath that oxygenates the body. In both the Zoega and Cleasby-Vigfusson dictionaries, it is also translated as ‘soul’ too.

For me though, önd is also the steed upon which inspiration, or óðr rides. A fitting gift from the god of Skalds.

The Nature of Inspiration

But before we follow that thread any further, we first need to take a look at what inspiration may have originally been.

Unfortunately, the Norse and Germanic corpus isn’t particularly forthcoming on the nature of inspiration. We know that there are poetic meters associated with magic and necromancy. And we can infer that Skaldic craft was itself considered magical. We can also look at the story of Egill Skallagrimson covering his head with his cloak in order to compose poetry in Egill’s saga, and possibly infer certain practices related to the getting of inspiration (as Jón Hnefill Aðalsteinsson theorizes in <em> Going Under the Cloak</em>).

However, in my opinion, our best clues come from the Welsh sources.
Like the Norse, the Welsh had an advanced culture of poetry (as too did the Irish). To be a poet, was to be capable of magic, and poets possessed of awen had the ability to influence kings.

The Welsh word awen, or ‘poetic genius’ carried supernatural and magical connotations, and was associated with spiritual enlightenment and wisdom. This was not “inspiration” as we know it today. This was inspiration associated with ideas of ‘spiritual wind’ and ‘divine breath’. The words ‘awen’ and awel (a Welsh word meaning ‘wind’ or ‘breeze’) are both derived from the Indo-European *uel, or ‘breath’. (You can find out more about awen in this video by Welsh scholar, Dr Gwilym Morus-Baird here.)

But it’s when we get to the purported origin of awen that things become interesting. Because in the Welsh sources, awen comes from the Welsh Otherworld, or Annwfn, the ‘Very Deep World’, rising up as a ‘spiritual wind’ or ‘divine breath’ to fill the poet, bringing vision and other spiritual gifts.

As one might expect of the ‘Very Deep World’, Annwfn is often depicted as a chthonic realm in the medieval Welsh textsan underworld, if you will. It is a realm connected with spirits, both Otherworldly and dead alike. An idyllic realm, a perfected realm. And it’s here with this idea of inspiration that comes from spirits and is breathed in (inspired) where we come crashing back into the Norse sources.

The topic of spirits entering a person for prophecy or other purposes can be quite controversial in modern Heathenism – taboo in some circles even. But as Eldar Heide demonstrates in Spirits Through Respiratory Passages , there is ample evidence of spirits entering a person through the breath. The evidence presented by Heide in the paper is primarily concerned with hostile attacking spirits who enter by forcing a yawn in their victims and enter on the in-breath. But an example given from Hrólfs saga kraka, shows that ingress by spirits may have also been a part of seiðr. In the account given in Hrólfs saga kraka, a seiðkona is depicted yawning before giving (or attempting to give) prophetic answers. Moreover, it was not uncommon This occurs multiple times in the account. Could this be a potential parallel to the awen-filled speech of the Welsh poets?

Working with Breath

In the magico-religious practices that I’ve developed over the years, breath is one of the key ways through which I connect with Óðinn. For many people who work with this god, he is called Allfather because of his role in enlivening Askr and Embla. However, for me, he is the Allfather because as the giver of breath, he is the giver of the one gift that all humans share regardless of ethnicity. We all breathe from the same air when we take our first breaths as newborn infants, and our final breaths will leave us to mingle once more with the winds. This is one of the main ways in which we are all connected, and it is with that understanding that I explore the breath in my work.

Meditation

There are many ways in which you can work with breath in Heathen magic and magic in general. But today I’m going to begin with meditation.

Many types of meditation work with the breath. Usually, it is used as a vehicle for changing one’s mental state and/or as a focus or support for meditation. But breath can also be used as a medium for exploring that sense of interconnectedness I mentioned above.

The first time I experienced this, I was stood at the side of Goðafoss waterfall in Northern Iceland. I’d just been under the cloak and was thinking about the stories surrounding the falls when I found myself wondering about Óðinn in Iceland. Suddenly, my attention was drawn to the sound of heavy wing beats that somehow sounded louder than the roar of the waterfall. Two ravens were flying across the width of the falls and their wings were all I could hear. Time became weighty and the world more ‘real’. I became intensely aware of my breath, and suddenly I was not just myself anymore but engaging in a communion of sorts with the winds, the world around, and a certain one-eyed god. I was a part of the whole rather than a singular being. The ravens turned and flew towards me until they drew level and veered away, taking the moment with them.

It is this experience I try to replicate when I meditate in this way. I begin with offerings and a prayer before taking a few moments to calm myself and fall into a light trance state. Then I focus on my breath as a connecting medium. Each time I breathe in, I do so with the awareness that I am breathing in a substance of winds, spirits and inspiration shared by everybeing else that breathes as I do. Then I release it back into the wholeness of the world completing the circle once more. Each breath is a micro-reenactment of life from birth to death. On good days, I focus so completely on the breath and what it carries that I no longer feel the separation between myself and the whole, and that is when the real magic happens.

In my experience, this exercise is the most satisfying when performed in a high place where the winds blow free, but you do not need to be on a mountaintop to do this. Your backyard or sitting indoors near an open window will work just as well.

A Story in Parts

In this post, we’ve covered a lot of ground. We began in mythological time, with three gods on a windswept beach giving life to the first humans, and followed the breath to its connections with spirit-gotten inspiration in the Welsh tradition before returning to the North and the theme of spirits through respiratory passages. Those of you who are more familiar with the ON material will have probably noticed that the more typical word for both ‘inspiration’ and possibly also ‘possession’ too. There is no doubt that there is some overlap here, but we’ll be getting into that further in the next post.
Speaking of the next post, we’re going to be taking a look at the other gifts of life, some of their most important uses in magic, and the possible connections between those gifts and the most common elements found in Old Norse magic. Well, at least as I see them.

Until we meet again, friends!

Be well.