Divination & Psychism


Talk to Me: When the Dead Speak to the Living
by Jimahl Di Fiosa
Flyingwitch Productions

Reviewed by Sorita d’Este for the Esoteric Book Review

This book is one of those rare gems that delivers a heartfelt message based on experience, from a bedrock of common sense and compassion. The essence of that message is that anyone can communicate with the spirits, and they have a great deal to say to anyone who is willing to make the effort to talk to them. Jimahl gives many personal accounts that strike a chord for anyone who has had any experiences with ghosts, spirits or haunted places. His story of the experience that caused him to finally write the book, with his “near-death” train journey sent a shiver up my spine, and was told with such clarity I could see it happening in front of me as I read the pages.
In a field where there have been too many mediocre works, this book shines out as a sensible, enjoyable and practical beacon. He provides a well-explained and thorough discussion of how to use ouija boards (or spirit boards as they are also known), describing the possible pitfalls such as over-communicative spirits who don’t want to leave you alone when they realise you are listening. Technology is not ignored, with advice on the use of EMF (Electromagnetic Field) meters, EVP (Electronic Voice Phenomenon) and digital cameras for spirit photography.
Jimahl’s parting words at the end of the book sum up the essence of the book well, whilst also emphasising his integrity and experience:

“In learning to speak with the spirits we learn how to believe once again in magic – not the smoke and mirrors kind of magic – but the magic that occurs when we awaken within ourselves the infinite power of self. When we learn to love ourselves again and trust ourselves again miracles will happen.”

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Schiffer Books Ltd., 2008
ISBN 978-0-7643-3003-2

$59.95 The Transparent Tarot can be purchased at any good bookstore, or directly from the publisher at http://www.schifferbooks.com (USA, Australia, and Japan) and distributor http://www.bushwoodbooks.co.uk (UK and Europe).

It’s a rare thing to find a deck that is original, truly unique, yet which remains functional and accessible. Too often deck creators sacrifice a deck’s ease of use for a novelty factor in the hopes of filling a niche in the market. Therefore it is a happy circumstance that Emily Carding has broken the mould with the Transparent Tarot yet not broken Tarot itself – this deck is one of those rare decks that combines novelty with function, simplicity with depth, and beauty with innovation. In fact, the Transparent Tarot is innovation at its best in the Tarot world – it’s the first deck of its kind, and (as we will see below) leads to an entirely new process of reading.

As the name of the deck suggests, every card of the Transparent Tarot is… transparent. The card images are made up of simple and colourful symbols that have been created with hundreds of minuscule points of colour – similar to the style of pointillism as practised by artists such as Seurat. This allows each image to remain translucent yet still bold and easy on the eye. The images are almost abstract – the Major Arcana rarely show scenes with figures interacting in them, but instead archetypal images (such as a city for the Emperor, a white butterfly for the Fool, and horses of opposing colours for the Chariot). The Minor Arcana show figures interacting, but without scenery. This makes for uncluttered cards that are easy of the eye, allowing the reader to immediately identify the symbols and therefore the meaning of the card.

On its own, each card of the Transparent Tarot is a joy to behold: evocative, yet uncluttered, free of overly-occult symbolism and instead represented by a few symbols that are more easily understood by beginners as well as advanced readers; symbols that speak to human experience rather than a particular school of thought, occult order, or religion. Some people may feel that trying to encapsulate every possible meaning of the High Priestess in a single symbol is a reductionist and pointless exercise. However, I had the joy of witnessing a young child pick up this deck and start telling me what the cards meant… The images spoke to her in such a palpable way that I’d quite readily have asked her for a full reading there and then (had we not been in the middle of eating rather yummy chocolate fudge cake!) As such, I believe the Transparent Tarot’s use of simple, evocative images speaks readily to beginners. Any advanced readers who see the images should have other knowledge already to supplement these images, and in this way they act as flash cards, prompts, or jumping off points.

However, the Transparent Tarot is not designed for reading each card separately. It is designed for layering the cards on top of each other, overlapping each other, and more! Their transparent nature forms a conglomerate image, in which the simple symbols quickly create a diverse, detailed, and meaningful scene. This is where the magic of the Transparent Tarot lies: not only has Emily Carding innovated the symbols and images like most new decks do, but she’s also innovated the way we interact with the cards, the very mechanics of the reading process and the process of interpretation! When we lay the Empress over the Emperor and create a conglomerate image, we refrain from interpreting the cards separately and jump straight to the goal of any good reading: to weave the card meanings together to form a more holistic view of the querent’s situation. This process also removes the necessity to call up from the depths of ones mind the knowledge we may have painstakingly memorized, encouraging us instead to intuitively respond to the images in front of us. And perhaps I’m just easily pleased, but for me there’s something really magical and fascinating about watching an image form between two or three cards, like seeing something come into focus. There are some gorgeous pairings and triplicates in the cards, particularly in the Major Arcana, and I could sit for hours creating new pictures!

Comparing the different cards to each other, we quickly see that the Major Arcana bear large, stark, multicoloured symbols, the Court Cards bear medium-sized figures, and the Minor Arcana smaller figures in a single colour. The suits each bear a single colour that can be associated with the four elements. This becomes much more interesting later when we put the cards together, as you begin to notice the subtle nuances of the deck that display a great deal of technical skill on behalf of the artist! There’s not a single card in the deck that melds with any other card poorly. Somehow Emily has managed to create each card so that they meld together almost seamlessly, whilst remaining centred, uncluttered, and colourful. The Minor Arcana are a great example of this: comparing the four Aces, we notice that the images are all positioned dead centre of the card, and that when the four Aces are put together they form a beautiful image of the four elemental symbols interacting with each other. The Twos of each suit have figures that also meld together into an image just shy of the centre of the card – and this image evokes the nature of the Twos, whilst each separate Two card manages to also evoke the single meaning of a specific Two. Going onwards, the Threes are slightly further from the centre, the Fours even further, and finally the Tens are position at each separate corner of the card. This is a marvellous means of displaying not only the evolution of the energies of the suit, but also the progression of the numerological value of each set of cards, an aspect sadly missing from many modern Tarot decks.

Similarly, each suit Court has a cohesive family illustrated between the Pages, Knights, Queens and Kings. It is easy to understand that they represent different levels or applications of that element or suit. Very obviously Emily has not sat down with some clear plastic and simply sketched some pretty doodles – she has planned this deck carefully and as an holistic, cohesive representation. It’s rare that I find I want to praise a Tarot deck’s technical beauty, but it’s one aspect of the Transparent Tarot that I still marvel at. In the age of so many slapdash, haphazard decks, this is an absolute joy to behold.

There are a couple of downsides to the deck, however. Firstly, the Court Cards might be a little difficult to read for beginners, since they are not as expressive as the other cards in the deck. All the Queens are in the same pose, but in a different colour, and the same is true for all the Knights, etc. This reminds me of the Witches Tarot by Ellen Cannon-Reed, and for a set of cards that I believe are sometimes the hardest to interpret in a reading, more expression is needed. The other criticisms of the deck are from a mundane perspective: I found the plastic used for the cards quickly accumulated unsightly and (in the sunlight) very noticeable fingerprints that didn’t come off easily; similarly, the plastic made for a very heavy deck (even though each card is quite thin) and due to its weight I found the relatively sharp edges of the cards made shuffling with any vigour almost painful. Finally, the black corners of the cards made for huge black blemishes upon otherwise beautiful images, especially when laying the cards not directly over each other, but overlapping in a line.

The entire deck comes in a set including the book and a white spreadcloth (which will need ironing before first use, since the folds will get in the way otherwise!) The book is a brilliant guide to the deck, split into three sections. The first section introduces the deck, introduces Tarot, and gives some good beginning advice. The second section is the largest, with explanations of each card; and the third section gives from excellent ideas and suggestions for using the deck and interacting with the cards.

One of the best features of section two are the example readings given for each Major Arcana card, in which that Major Arcana is depicted in a conglomerate image with two other cards from the deck and interpreted. This not only demonstrates how the Transparent Tarot is designed to work, but shows how interpretations of each card depend on the other cards and the intuition.

I highly recommend that even the most seasoned readers take a look at the third section of the book, if only to get them to think outside the box and break their old die-hard reading habits! In this section, Emily demonstrates the versatility any dynamism of reading with the Transparent Tarot, including some suggestions for spreads, some new takes on old spreads, and some new ideas for positioning the cards.

Overall, the Transparent Tarot won’t charm the readers who prefer their decks to be dripping in occult symbolism, and it probably won’t please readers who prefer their decks dark and heavy – this deck is very much sunlight and stars, simplicity and beauty. But it is an intelligent, innovative, and beautiful deck that is more than just a novelty. It’s a deck I’d highly recommend to beginners, and a deck that will inspire an advanced reader to new heights and techniques. It’s a new approach to Tarot that makes the reader aware of the panorama of possibilities available to us when we pick up a Tarot deck.

Reviewer Bio:

Kim Huggens is a 24 year old Pagan Tarot reader and PhD student in the Ancient History Department of Cardiff University. She is the co-creator of “Sol Invictus: The God Tarot” (recently published by Schiffer Books) and the forthcoming “Pistis Sophia: The Goddess Tarot”. She has had recent work published in “Horns of Power”, and “Priestesses, Pythonesses, and Sibyls” edited by Sorita D’Este, and is the Editor of online Pagan magazine Offerings. When not getting orgasmic about ancient voodoo dolls and Sumerian cunieform writing, she works in a vetinary clinic, plays Dungeons and Dragons, and practices Vodou.

The Persian ‘Mar Nameh’: The Zoroastrian Book of the Snake Omens and Calendar and The Old Iranian Calendar

by Payam Nabarz and S H Taqizadeh

published by Twin Serpents Limited

PB, 130pp, £12.95

reviewed by David Rankine for the Esoteric Book Review

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I wasn’t sure what I would make of ths book with such a long title when it was offered to me.  However omens and calendars are two areas of great interest to me, so I was intrigued to see what the authors had to say.  In fact this is more like two works in one, the first part being the contemporary work of Payam Nabarz on the Mar Nameh and the second part being a reprint of the 1917 essay on The Old Iranian Calendar by S H Taqizadeh.  Both have their fascinations, though for me the life really flows through Nabarz’s work in the first half of the book.

So what can you expect and why should you buy this book?  Well anyone interested in divination, magick, religion or calendars will find valuable material in this book, which is a pretty big range of people!  Nabarz provides the original Persian text, along with both literal and poetic translations of the text.  The text itself gives the divinatory meaning for seeing a snake on each day of the month.  As the author lucidly demonstrates in his introduction, the serpent has a long connection with time, and so this combination is a logical one, as he convincingly argues.  He also discusses the Zoroastrian spirits associated with the days, an area worthy of study by itself, especially in light of their planetary nature and possible role as antecedents to much of the later spiritual hierarchies found in magickal systems.

The essay on The Old Iranian Calendar is somewhat dry in comparison to the passionate flow of Nabarz’s style, but interesting nevertheless.  In tracing the development of the Iranian calendar, from ancient Egypt through reforms and intercalations, the importance of time and its measurement is impressed in the mind of the reader.  The juxtaposition of this essay with the Book of the Snake makes for a unique and interesting sourcework that I thoroughly encourage you to buy and read.

Divine Comedy of Neophyte Corax and Goddess Morrigan  by  Payam Nabarz  © 2008,  Web of Wyrd,   ISBN:  978-09556858-0-4  64 pages  Paperback Printed   £8.88 or £6.66 download.

Here are four reviews of this book:

1.  A Raven Review!4
A review from Amazon.com and Silver Star magazine By Robert C. Carey:

A very deep, funny and clever play involving the complicated relationship between the goddess and her reincarnating raven, and cheerfully exploring all the mythologies which have played through the history of the British Isles: Mithraic and Druidic and Christian, Norse and Shamanic and Qabalistic, Thelemic and Vodou and Tantric. Mystery plays once edified the illiterate populace, today we have bad movies… perhaps it is time for a change. Wit can actually make people think! Illustrated with a series of lovely photos by the author.

2. Review by Mike Gleason:

This is a strange little play, or series of plays, with a unique view of the Wheel of the year.  In a truly ecumenical spirit the protagonist is a Mithraic neophyte, the Goddess is Celtic, and the supporting cast is drawn from the animal world and the worlds of mythology in all its varied aspects. 

I have attended a number of mystery plays (in the religious sense) over the years.  I have read others.  This comedic offering, by a Persian-born member of the OBOD and the Pagan Federation is, without doubt, the most entertaining.  It does not skimp on symbolism, nor on knowledge revealed.

 It is easy to read, and thoroughly enjoyable on multiple levels.  You don’t need extensive knowledge of the associated mythologies (a sign of an effective mystery play).  Whatever you are looking for, you are sure to find it (and more), much as Corax discovers during his journey through the year.

This is profundity disguised as absurdity.  It is funny and enjoyable.  It is lightweight with serious underpinnings.  In other words, it is a good value.  Pick up a copy and enjoy it.

 

3. Review by Merry Meet Magazine issue 34, Autumn 2008:

This is an enjoyable and amusing comedic romp through the many facets of eclectic paganism in the form of “dialectic plays”, using the Greek method of “Socratic Dialogue” or the Irish “Druidic Colloquy”, according to the blurb.

The reader follows the metaphysical adventuring of Corax, who has the, shall we say, somewhat mixed blessings of being initiated by the Goddess Morrigan in the form of a raven (perhaps not for nothing is
the collective noun for an assemblage of the genus corvus referred to as `an unkindness’!

There is much hilarity in this satirical look at contemporary alternative spiritualities, which nevertheless is impressive in its grasp of the importance of exploring metaphysical approaches to life in an age when our planet is beleaguered with a mainstream orthodoxy so deeply routed in the `here-and-now culture of short term physical gain at the expense of future generations. I quote from a passage in which Corax is unwilling to be reborn innocently into another stage of earthly existence:

“What if this time, I forget your signs and do not recognise you goddess? What if I walked the earth without recognising the sounds of birds as the music of the heavens. What if I forget I ever had wings! What if I swim in the sea and forget it’s where all life on earth comes from or breathe the air and forget that every breath is god sent. What if I only saw a lifeless rock instead of the goddess Luna or a just nuclear reaction when I look at the sun? Instead of proclaiming your beauty, and remembering circular time, I might be
caught in the linear time, filled with greed to consume time. Take each grain of the sand of time and squeeze every atom out of it, consume everything in my path, dig mines deep into your body, and suck the black blood of our dinosaur ancestors to move my metal coffin, and pay for it in red blood of our distant brothers or sisters. What if I become a destroyer and enslave life, and follow a `one true way’ and slay anything that doesn’t conform to my `one way’ …The stakes are too high…”

An excellent book, though it would have benefited greatly from a far more rigorous regime of proof reading.

Recommended.    -Merry Meet Magazine issue 34, Autumn 2008.

4. Review by Bish, Druid Network:

I was tempted to keep the review short in order to match the book, which only runs to some fifty pages. But the quality of a work is not reflected only in its page numbers. The Divine Comedy (I shall, um, cut short the full title) is a play, generally between two protagonists, Corax and Morrigan – Corax being a seeker after the wisdom of the gods and Morrigan, of course, being such a one. The story runs through the traditional year, poking fun at Corax with some ‘in jokes’ and pagan related situation comedy as he attempts to gain knowledge from the goddess of war, death, change and justice.

The advertising for this work suggested a similarity with that of Terry Pratchett, but I suspect there’s more of a bond between it and the late great Douglas Adams (who of course was a playwright and radio scripter as well as an author). The lines work best when read out aloud than simply read, and it would indeed make an interesting play for BBC Radio’s 4 or 7. The layout is that of a traditional play, with scene descriptions and narration, and paragraphs for each actor’s lines………Some of the descriptions are very contemporary (does anyone still use Lynx body spray?) and the language is often that of the street, which will appeal to the younger reader – and this is where I think the play is aimed. Elements of many pagan traditions are brought into play (ouch, pun alert, sorry) and although a deeper understanding of some of the traditions will only help the reader, nearly everyone will be sufficiently familiar with the situations and players to get by.

It would not be fair to reveal much of the plotline in such a tale, but I did enjoy a scene entitled ‘an eclectic pagan’s near death experience’ which asked the question as to just where an eclectic ends up, and in the company of which gods?

Review: The Mystic Dreamer Tarot
By Heidi Darras and Barbara Moore
Llewellyn Publications, 2008
ISBN 978-0-7387-1436-3

Review by Kim Huggens

You can see images of the cards here (these images are pre-Llewellyn publication, so have different borders.)

For more art from this deck creator, see Heidi Darras’ Deviant Art page:

Some people say that Tarot exists in a world that is not quite as it seems; that it moves in mysterious ways; that it has a misty, ethereal, dreamy quality that allows more effective access to the reader’s subconscious and intuition. Everything in the Mystic Dreamer Tarot pulls the reader into that very world, where ravens fly at night beneath a lunar landscape, signposts appear blank, and the mists roll in around you. To some this may appear sinister, but the Mystic Dreamer Tarot takes you gently by the hand and guides you through the mists deeper into mystery.

This deck, by Heidi Darras, is a photo-manipulated deck. At times this art style is used to great effect, and the deck reminds me of Ciro Marchetti’s Gilded Tarot and his Tarot of Dreams. At other times however the images do not flow as seamlessly into one another and they becoming jarring to the eye. Throughout the cards recurring symbols can be seen in the periphery or background: ravens in flight, the moon, mist, signposts, and more. These recurring symbols allow the reader to make links between the cards, and highlights similarities and differences as well. The choice of clothing for the figures in the cards is interesting: at times it is inspired by traditional Tarot imagery or medieval costume, at other times it seems more appropriate to a nightclub (such as the Fool in his chain shirt and flared trousers!) or a Gothic fantasy.

The Mystic Dreamer Tarot is heavily influenced by the Rider Waite Smith tradition, both in card meaning and imagery. At times the card images are almost the same as those in the Rider Waite Smith, but at other times the creator has not shied away from creating something different, or adding a twist or something extra to an image. Her Hierophant is no longer a Pope holding the keys of the tradition, while two altar boys pray at his feet: instead he is a handsome young man in a cathedral setting, surrounded by books. Justice is no longer seated in stone but instead stands at the edge of a precipice, looking over creation. In places there are also tantalizing symbols that you have to look closely to see: the ascending stairway behind the High Priestess, the sword in the chalice beneath the Lovers, and the raven bearing the lucky clover in the Four of Wands. Unfortunately however, these images have been done an injustice by being scaled down to fit the standard Tarot pack size. The detail and colours, the carefully placed little symbols, all get consumed by the images at such small size. I found myself continually squinting at the cards as I looked through, and am tempted to employ a magnifying glass next time!

Figures in the cards make this deck undeniably aimed at the younger market. Everybody is beautiful, young, and striking in appearance, from the rather sexy Hierophant with his knee-high jackboots, to the scantily clad female warrior on the 7 of Wands, who seems to be working on the Armour rules for female Dungeons and Dragons characters (the less Armour, and the more cleavage shown, the higher the Armour class). I am also very curious and slightly non-plussed about the outfit chosen for the Knight of Wands, who seems to have constructed his clothing out of belts and coloured tape.

However, the images themselves are for the most part easy to read, pleasing to the eye, and well-executed by the artist. In places I was extremely pleased to see cards that really showed the meanings. These cards were mostly in the Minor Arcana however, such as the 3 of Pentacles, 5 of Wands, and 6 of Cups. It seems that the Major Arcana are indeed very beautiful, but they suffer from the illness of many Tarot decks in that they are too abstract. Judgement, for instance, has become simply a female angel blowing a trumpet and The World shows us a woman flapping a veil whilst standing upon the globe, with various animals floating around her. Some Majors are fantastic and evoke meaning brilliantly, but cards such as these left me cold, and would no doubt make the already-difficult concepts of such cards even harder to grasp for beginners. In places I also found that the facial expressions of some of the figures were all wrong for the card: such as the 9 of Cups, in which the figure looks really, really sad, instead of joyous and happy as she is described in the book. This seems a definite flaw in a deck that the creator wanted to be emotional:

“I knew my dream deck would be emotional. I wanted to reveal the hidden emotions in each card.” ~ Artist’s Note, xvi.

Another thing that the artist wanted for her deck was to eliminate the Biblical symbolism from the cards to make it more modern and up-to-date. Firstly, I think many people would disagree that it is the Bible imagery that keeps Tarot away from the modern world. Secondly, Darras has managed to keep an awful lot of Biblical and Christian imagery in the deck despite all this: the titles have not been changed, Judgement’s trumpet-blowing angel is still there, a crucifix and pope’s scepter appear in the Hierophant, the Trees of Life and Knowledge appear in the Lovers, a stained glass window of a parable from the Bible is a major feature of the Four of Swords, and more. Personally I don’t mind, but the creator probably should.

The companion book, “The Dreamer’s Journal”, written by Barbara Moore, who seems to have become Llewellyn’s stock-in-trade companion book author, is better than expected. It begins with chapters ideal for a beginner, covering topics of how to read the cards, choose a suitable spread, keep a Tarot journal, and the basics. The section on Dream Work with the deck is particularly interesting even for more advanced students of Tarot, and has some excellent ideas for specific use with this deck. I would also recommend pages 8-10 for anybody wanting to learn how to perform a reading, and pages 12-14 for excellent advice on learning the Tarot, complete with useful exercises that will not only stand a beginner in good stead but also help an advanced reader improve and renew their knowledge. The Tarot spreads given in the book are varied, with some standard spreads such as the Celtic Cross, but a wide variety of new spreads that can be used for many different readings. They are excellent spreads, and I particularly liked the relationship spreads and the “Message from the Universe Spread”.

The card meanings are split into sections of Major Arcana, Minor Arcana, and Court Cards, and although the notes for each card are brief they serve to highlight the symbols and what they mean – particularly useful for those of us who find the images too small to identify correctly! However, each card also has a “Use Your Intuition” section at the end, in which the reader is asked a few questions about the card. Obviously this is intended to get the reader using their intuition and thinking, leading them to new perspectives of the cards, but instead it reads like a child’s exercise book (Can you see the cat? What sounds does it make?), and asks questions about some things in the cards which are, as already mentioned, too small to see!

The cards themselves are Llewellyn’s standard size, with reversible backs that have a striking lunar design. Both the card backs and the card fronts have parchment-like borders, with a scroll in the bottom border bearing the card name and number. The titles have remained the same as the Rider Waite Smith deck, as has the numbering of the Majors and the elemental attributions of the suits. The deck is presented in an attractive box with the companion book and a black gauze drawstring bag for storage, and overall it is nicely presented.

Generally speaking this is a beautiful deck to look at, and will hit the spot for many readers out there who want a nice alternative to the Rider Waite Smith, and something in a more modern style. Except with reference to a couple of the Majors, the Mystic Dreamer Tarot would make an excellent first deck, and the recurring symbols and symbolic additions to many of the cards would intrigue a more advanced reader. As usual, I would have preferred a companion book written by the artist herself, but not all artists are writers! I recommend the Mystic Dreamer Tarot to beginners, people who want something a little fantastical without the usually accompanying faeries, unicorns, and mermaids, and readers who want something a little different but not too wildly so.

Reviewer Bio:
Kim Huggens is a 24 year old Pagan Tarot reader and PhD student at the Ancient History department of Cardiff University. She is the co-creator of recently released “Sol Invictus: The God Tarot“, and the forthcoming “Pistis Sophia: The Goddess Tarot“. She has had work published in “Horns of Power”, an anthology edited by Sorita D’Este, as well as a paper forthcoming in the Mithras Reader edited by Payam Nabarz. She edits Offerings online magazine, and runs workshops of Tarot, world mythology, and Pagan crafts in South Wales, as well as being a regular speaker at Witchfest Wales, UKPagan moots, and the Mercian Gathering.

The Druid Animal Oracle
Working with the Sacred Animals of the Druid Tradition
Philip & Stephanie Carr-Gomm

If you are a lover of nature and animals, and have ever wanted an alternative to the Tarot, here it is! Drawing on their vast experience as two of the foremost writers and proponents of the Druid revival, Philip and Stephanie Carr-Gomm have produced a modern masterpiece.

The 33 cards are beautifully illustrated, and full of symbolism in every plant and aspect of the landscape within them, as well as the beautiful depictions of the sacred animals.

The book is full of information about the qualities of the animals, enabling the reader to use the oracle to help develop themselves, their relationship with nature and with the power animals they may discover and work with. There is also a wealth of folklore about the various animals in the Celtic myths and legends.

The book is well laid out, with useful cross-reference tables for ease of use, and details of different ways to work with the cards. As you may have guessed I fell in love with The Druid Animal Oracle when I first saw it years ago, and would strongly recommend it to anyone irrespective of their spiritual path. Buy it now!

Rune Cards
Brian Partridge & Tony Linsell
30 cards, with 96 page booklet
Published by Anglo-Saxon Books

Ever the skeptic I did not expect much from this (yet another!) deck of cards, but what a surprise!

The Rune Cards are beautifully illustrated, with exquisite black and white images. 29 of the cards contain images which correspond to one of the 29 runes using in the Anglo-Saxon “Rune Poem”. The additional card is described as a “Wyrd” card which is optional when using this deck for divination or inspiration.
It is written in a clear and precise way, containing useful background ifnormation and an introduction to the use of the cards.

In addition the booklet also includes a useful table of comparison for the Anglo-Saxon Runes towards the Old English and modern English rune names. The introductory Rune Ritual guide will be of great help to people unaccustomed to working with these powerful magickal symbols, and the introduction to casting lots and rune casts invaluable to those who have not done much divinatory work.

Recommended to everyone with an interest in Runes or Saxon Magick which they would like to explore. The cards also make excellent meditational aids, for use as Astral Doorways into the various landscapes.

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