I’ve begun to read a book on the cadaver in German sorcery (more on that later). In the introduction it states that the remains of the dead, animal or human, still contain an essence that goes beyond death and which can be utilised in magic.
I was reminded of the day that I found a dead pigeon on the streets of my town. People passed it, ignoring it as the usual urban detritus. I was riveted and unable to pass by. I picked up the pigeon and walked a mile out into the countryside where I laid it to rest under a hazel bush next to an oak tree. More recently I found a dead juvenile rat on the concrete in front of my house. Luckily the house owner’s gardener was in that day, so I went through to him and asked him to dig a hole so that I could bury her. He is used to my madness and didn’t blink twice at my request.
Somehow the concrete of the town was life/death-denying in the way that it forced the cadavers to lie betwixt and between, unable to fester and rot away, to become part of the earth again. At worst, they would have been kicked around, at best swept up to be thrown onto some soul-less landfill. If we cannot rot and be re-consumed into the earth, do we ever really die?
Then my thoughts must turn to the ancient Egyptians who mummified their animals and fellow humans to perpetuate them for the afterlife. The Egyptians believed that as long as the Ren, or name, was spoken, they would live on. I cannot help but think of the future-denying mystes of Klagesian philosophy (of which I am still woozy but making brave efforts to understand) who tap into the eternal past through images … A name is after all but a way of conjuring up an image. Mythology has made much ado about the power of names – of angels and gods, but even Adam and Eve naming the plants and animals before their ejection from Eden. Only those dead re-membered live on, not just “in our hearts” as the Christians would have it, but in reality, beyond the illusory bluster of a world that has us not only deny life but death too.
How do we deny life when we celebrate birth and, now more than ever, we (in the Western World) can indulge our leisure time with so many “life-fulfilling” activities? Bucket list ticks are surely a testament to how much we LIVE LIFE?! But without death there is no life. Our eyes have become dulled by the litany of soul-less images from conflict zones around the world, and ever more so in our own backyards. We remember the dead in statistics. Grief counselling is A Thing, because we no longer know what to do when a person we love dies; how should we continue to relate to the dead? Of course, in the main, we don’t because the dead are just that … dead. What role do they play in life?
One can’t help but look back to past cultures, and the remnants of such, in ancestral cults, where there was no cessation of relationship with the person who died.
I am minded of the ever-growing number of Facebook profiles online of those who have passed on. Family and friends unable to, or unwilling to delete them … In many cases, people still post to the profiles randomly or on some anniversary, as if still in conversation with the dead. A cyber-necromancy. The need in us is there. It will out, in new and weirder ways.
I have no conclusions. These are just my initial mulling thoughts. I may expand on them and/or change them … but that’s just par for the course for my blog 🙂 Right from the initial post, this has been a place for me to explore, share and develop. I appreciate your company in this.
“Art is another language which, if you undertake to learn it, will open up a new world that permeates, surrounds and elevates this dull metropolis.” ~ Seshat
When first you enter the pagan or occult world, you will be faced with all sorts of good (and bad) advice. So let me just throw my glove into the ring with a suggestion of my own.
For those of you who are regularly readers (for which I thank you), you will know that I am a great proponent of using one’s imagination (see HERE for my latest article on the subject). Aside from sitting by the fire day dreaming, some might wonder where on earth to start with honing their creative and imaginistic muscles. First and foremost I would recommend art … although that might feel to turgid and bound by rules of aesthetics and skill … so let’s expand that word to “the arts and crafts” which could include everything expressive from music to painting to woodwork and textiles, such as sewing or even knitting. I know that last might baffle you – what benefit could something like knitting have to a magickal life?! But I would ask you to put aside such “art snobbery” and be open to the idea of creation.
Creating A Thing is a practice that involves making and holding a vision, imagination, commitment to follow through and skill to execute. No part of that sequence involves any judgement over “good” or “bad”, “beautiful” or ugly”, “useful” or “useless”. This is not the realm for debating “What is art?” – this is the domain of learning to envision, create and manifest. Sounds a little like the basics of magick and spellwork, right?
And even though creating artistically can indeed give expression to the subconscious mind (I am a supporter of therapeutic art), this does not mean that I equate magick with the mere machinations of one’s own unconscious, or even the collective unconscious. Magick is not mere psychology and the entities one encounters are not necessarily (although they can be) projections of your own mind. So let’s just make that clear. I am proposing some form of artistic involvement as a means to develop the full spectrum of imagination: a process of shifting a thing from energy into matter. This does indeed include music, as I consider sound vibrations to be a material manifestation. So my remit for “arts and crafts” really does include all forms of creativity.
So, now I shall expand a little on my own artistic practices:
Some people, especially in occult practices, like to work fast and furiously on their art, allowing no room for internal censorship. One of my art practices begins like this, in that I put pen to paper, close my eyes, draw madly in swirls and lines for a few seconds and then stop. But that is the fastest I get in my art. In fact, my art – whether it is sketching, felt painting, or textile work – is characterised by an exceptionally slow pace. It can literally take me months to complete a piece. Surely, when working so slowly, I have to battle often with the censor and conscious mind forcing it into a particular conceptual mould? Yes and no. Certainly I occasionally have to battle with the censor, but the processes for my art are often described by others as tedious and boring; I frequently hear, “I would never have the patience to do that!” But for me, it requires no patience. Due to the minute focus that is required, I slip into a hypnagogic state where the boundaries between conscious censor and fluid unconscious are permeable and mobile. This allows my imagination free reign and expression, often with surprising results. I never know when I start a piece, how it is going to turn out. But where’s that “vision” I spoke about as the starting point? For me, the vision is merely the unmistakeable physical pull and urge to create; it is a very corporeal as well as mental drive – for me personally, this is my vision and the manifestation is a process of welcoming the Other that nudged my psychic senses and bringing into a material form. The process will most likely be different for other people, but maybe some of you can identify with my own experience and methods.
And I must make an aside, regarding textile art (e.g. knitting, although in my case not knitting per se as I have injured hands and can no longer knit without pain). I embroider and create knot ropes; again, both techniques are laborious and easily induce a light trance state due to the focus and repetition. My knot ropes (for which I use spools, or French knitting dolls, but also the Anglo-Saxon lucet) may seem banal to onlookers, but to me they are invested with thought and emotion. By doing such repetitive work, importantly while focusing on a particular thing (a solution to a problem, a state you wish to come into being, magick you wish to actuate, or a person) you anchor that thing in muscle memory for a start, making the thing you create a part of your body (mundane example: the first time I watched The Shining I was knitting socks. The next day after watching the film, I picked up my socks and experienced such powerful flashbacks from the film that I could no longer continue knitting. It took a week for the muscle memory to abate enough for me to pick up again). But also, by taking the slow route, one comes to know the Thing one creates intimately well: that point where the shade of wool changes a fraction, that slip in the stitch that creates a loose mark, that struggle to tie in a bead or feather… So what’s the point, you may ask? The point is to enhance concentration, memory, focus, experiencing creation with the body not just the mind, and of course exercising of the imagination. Never underestimate the simple rural crafts such as knotting, spinning, carding, weaving, crocheting, and yes, knitting. They hold an equal place in my heart alongside the more “mainstream” arts of painting and sketching.
The proof is in the pudding. Try it. Try everything. I have sung, played classical guitar, painted, sketched, used textiles and wool, knotted and finger painted! And in each I have been able to reach that hypnagogic state – not always, because it’s not always appropriate – but at will, which is a sign that it has developed into a discipline. The neural pathways are laid, the psychic arteries are flowing, my imagination is working.
The wonderful thing about art is that it is a life-long companion. There is always room to improve your creative and imaginistic skills. Remember that cerebral judgement about “art” does not apply here. If you can think it, you can do it – and that is not a literal adjuration to do whatever you like. Not everything should be enacted literally, but that is the beauty of imagination and art, – there are no rules. I have seen art created by finger painting with menstrual blood, alongside the “Fine Art” painted canvases; I have seen thread embroidered into the very skin on the hand of an artist, alongside ecclesiastical gold embroidery. The end product is almost irrelevant; it is the inner journey that is important – the vision, the actuation, the material manifestation. But like all good magick, don’t hang on the results. Once you’ve finished a piece, do not rest on your laurels, but immediately begin the next! Only so (I suggest) will you develop invaluable skills to your occult, pagan and magickal practices.
My acquaintanceship with spirits began at a very young age. I saw and heard things that others didn’t and I was told to keep quiet about it because people would think I was mad; so I withdrew further from the mainstream world and inhabited my own world of imagination and spirit.
…one must be cautious not to chuck the imaginative baby out with the imagined bathwater!
I am often asked, “How will I know when something spirit-based happens? How will I know it’s not just my imagination?” To which I reply, “You won’t know and you will know, and imagination is the key to knowing.” “Imagination” is given a hard time in every arena except the creative. “It’s just your imagination!” is a dismissive comment we bring out when people try to describe things outside the norm. Whereas it is indeed irritating when you get people who claim that every creaking floorboard is a ghost, and every feather floating to the ground is a sign of an angel passing by, one must be cautious not to chuck the imaginative baby out with the imagined bathwater!
The imagination works with symbols and signs and all the senses. When asked to imagine a scene most vividly, we are encouraged to draw upon our sensory memory to recreate the scene in our minds. This creates a connecting language between our internal world and our external world. This language is the stuff that spirit encounters are made of. When a spirit makes its presence known in this world, it is partly here, partly there; it is both wave and particle. Our minds have the same capacity to occupy more than just the visible, material world … some might say it is our spirits or souls that stand with a foot in each realm. If that is so, most people spend the majority of their life unaware of the half of their “body” that stands in the Other. How would one go about rediscovering this Other half? The first step must surely be to imagine it, to conceive of the possibility that it exists, to bring the image of it into consciousness. As I said, imagination is the connecting language between here and there, between this world and Other. Without it we are merely flesh sacks excreting, eating and fucking.
The fact that I withdrew into my internal world as a child was a great boon to me in that it allowed me to become fluent in “Imagination” so that my mind was all ears and eyes, open to receiving the Other when it came. Some things I have seen with my physical eyes, which, for me, is a very frightening way of perceiving things. Likewise I was majorly disturbed by a ghost cat as a child that would jump on my bed and settle in amongst my blankets (that was fine); but when he began to claw at my carpet I was frightened and told him to stop scaring me, and he did. Sadly, my ghost cat disappeared entirely. This is another factor that I have experienced repeatedly: apparitions, the ones that truly want to connect with you, come through gradually. They appear at first like imagined moments – noises, smells, tactile sensations – and become more concrete and perceptual over time (in one case, a being took about 3 years until it manifested nearly completely – I was able to touch him and it was like touching hard air. Not all take quite this long though …). BUT once I queried the experience or applied some logical understanding to it, even if the logic was based in pseudo-magickal psychology (e.g. my desire for XX has manifested in the physical expression of YY), then the apparitions disappeared never to return again. In each case, it was vital for me to maintain a state of mind anchored in imagination and credulity – believing the impossible and allowing it to remain an impossible belief made manifest exactly because it was impossible. This may sound like gibberish to some, but I think to others it will make perfect sense.
As far as advice goes, when wishing to open yourself up to the spirit world, do not be afraid of a little imagination. Believing that a knock COULD be a spirit, opens up the impossible possibility that a future knock IS a spirit. It is difficult to maintain that fine line between megalomaniacal fantasies and true spirit experiences, but this is where you need to develop your self, including unrelenting self-honesty. Experiencing spirits in isolation will bring you nothing; this is a path of full and comprehensive self-development/self-loss/self-transformation. If you are looking for kicks or a good story, you will find neither or possibly be so shit scared by something that you wish you’d never dabbled in the first place (I have met people like this).
Begin with a meditation discipline … something appropriate, not “I meditate while I do the gardening/chores etc.” That’s not meditation, that’s mindfulness. And use meditation to expand the sensory capacity of your mind. If you can think it with all your senses, it can be; if you can conceive it, it can manifest. But when it does, be reserved with your questioning and logic, or risk chasing away the very thing that you seek.
Edit: I found this rather appropriate quote by Kenneth Grant, so am adding this after the fact:
In all forms of magick, the imagination or image-making faculty is the most important factor.
On Saturday I met a neo-Nazi. And I don’t think anyone else around him even realised. I was at a warehouse buying a bike. He manages the warehouse. He was covered in tattoos … even more than me. His head was covered in militaristic symbols (German) and emblazoned across his scalp were the English words, “Blood and Honour”. Now the phrase “Blut und Ehre”, as it is in the original German, was the motto etched onto the knife blades of the Nazi Youth Movement. These days “Blood and Honour” is the name of a neo-Nazi music group and political movement, white supremacists, blah, blah, blah. Unless you know this stuff, you just don’t know, and you don’t “see” the neo-Nazi in front of you, you just see a surly tattooed guy.
Ironically he showed an especially gruff demeanour when I gave him my obviously foreign name, because the dullard didn’t realise that my name was German. And what I would never have told him, for my own safety, is that my origins are German-Jewish, and that I lost most of my family in the Shoah (the Holocaust). A long time ago now I did a year of research in Germany on the Shoah and wrote my Masters dissertation on the portrayal of the Holocaust in German fiction, specifically by a man called Edgar Hilsenrath. So I know my history. Let me rephrase that: I know MY history. I know my origins.
My German family (the ones who survived) ultimately fled Russian occupied Berlin because they were blacklisted by the Russians due to a book my uncle had written about 10 Catholic men who had been assassinated by the Russian government. My family fled to America, leaving only my great-grandfather behind. He took refuge in a convent in West Germany and spent his final days with the nuns. When I was 9, I visited this convent for the first of many, many times.
Once I reached adulthood, one of the oldest nuns took me aside and told me the story of my Jewish family and their time in Berlin under the Nazis. She took my hands in hers and said, “Blut zeigt sich!” which means, “You can’t hide from your blood” or “Blood will always show itself!” I think in her wise old heart she knew that I was never going to be a Catholic like the rest of my family (who converted). For some reason, she marked me out to carry on the history of my family and importantly to carry the heritage of those who died.
This was in part why I chose the Masters’ subject that I did and why I worked so damn hard to learn German (I was not brought up bilingually – my mother married an Englishman and I was brought up in England; in fact, German was forbidden at home until my father left). I have always felt that I have had to make up for the diaspora of my family, the immigrants who settled in America and abandoned everything German.
My grandmother joined my uncle (her brother) when they fled Berlin from the Russians. My uncle never lost his accent but he became an AMERICAN with a German background; my grandmother, on the other hand, always remained displaced – a GERMAN living in America. Last year my grandmother died. She asked for her ashes to be scattered in the New Mexican desert where she lived. My Catholic family riotously objected and so she was ultimately buried in England – a country she had no ties to in any respect. It still makes me sad (read: furious) to this day.
You would think with this heritage running strongly in me, perhaps more than anyone else in the family, I would have a strong spirit connection with my blood ancestors. But I don’t. In fact I can’t. I’ve tried. I have tried four times to establish ancestor shrines and to welcome and engage with the spirits of my dead family, and each time my life was blighted with so much bad luck that it belied coincidence. Within a day of me dismantling the shrine/altar each time, the bad luck dissipated and peace would return to my life.
Even at my grandmother’s funeral I sought to connect with her (too soon perhaps) and a piece of ceramic fell from the earth over her grave at my feet. On the ceramic piece was the word “malade”, which is French for sickness or madwoman. Of course it was the broken off piece from a MARmalade jar, but the message to me was clear. My grandmother and I communicated in German but she always signed off her letters in French. I felt her disapproval of my spiritualist ways in relation to her and so I left her in peace.
The fact is that my family have undergone horrific times during life and I fear they carry it with them in death. Relatives were killed in Auschwitz or died under dreadful conditions. Those who survived had to flee their home country for their lives and all have lived under the shadow of the past. My grandmother would hide under tables when planes went overhead; she wielded an enormous gun at strangers on her property; she trusted no one, least of all authorities because she knew that an apathetic nation could allow tyrants to rule and neighbours are ready to betray you if the price is right.
So in connecting with spirits I leave my ancestors alone. I wish that one day I could bring them some semblance of peace, but I don’t know how. For now I connect to the nameless ones, the forgotten ones, the faceless ones; the blessed Aakhu who have passed the test of Ma’at and have her feather of truth tattooed on their tongues. Blessed are the Doo spirits who are good to me always.
But my encounter with the Nazi made my blood stir. I love Germany and I love the Germanic past, before it was distorted and misappropriated. I feel a calling but it is soft and indistinct. Maybe I am not yet ready to hear it. Maybe I need someone to spell it out for me. My shyness often converts into reticence and gives me cloth ears to my own destiny. For now I shall set it before the spirits, and quietly pray that my ancestors rest in peace.
Steel balls of aural vibration swing back and forth between my ears oscillating my cerebral hemispheres, creating a circle of outward moving ripples rippling inward outward – phantasm. Furrows in my brow and brain; the earthy land seeds the dirt in waves ploughed straight unlike my mind. The thought making crooked all that is straight. Smudged skulls push up from the earth faceless faces upturned to the sky. They stare open mouthed slack jawed speaking black words from tongue-less cracked-toothed chasms. The mouth is the channel downward down into the cavernous darkness underworld where spirits in bony form push away from the burning core, flames-not-hell, gravitas of the earth’s core, molten metal pulling down to seal the coffin. Bending low, crouched with yoni open to the earth, lowering my mouth – open above and so below – I breathe in the earth and exhume the dead up into flesh, my wombless womb and pounding lungs. Inhabit me. Fingers gripping the clay heavy red earth blood on the landscape, everywhere is DeathLife. I a conduit joining two, a portal gateway passing point liminal body where spirits may dwell as my heart shunts blood in a pulsing roar from artery to vein. Cut me here to bleed on the ground and feed the revenant’s gaping mouth. Poking fingers in and through the empty eyes, blind yet seeing more than I could ever see with these brown-green dotted irises and pupils black blacker blackest. Night-time vision seeing Them. In seeing I am seen and all become visible to the dark light, the midnight sun that rises up between my legs, ascending to pinnacle in a place that is me transcending all times and places – the point of congress egress ingress by the haunting spirits. Aakhu blessed dead coming forth. Face to the earth, now the worms crawl into my nostrils as I inhale the dirt and dig my body back into the darkness whence it came and always comes. Come morning I will bleed again and lift my head to sky seeing through the blue of heaven – the first face – onwards through the stratosphere and onwards home to the faceless face of All.
I studied in Edinburgh, Scotland, the so-called “Athens of the North”, also known as “Auld Reekie”. It is thought to be one of the most haunted cities in Europe. Perhaps. I generally find spirits wherever I go, so statistically my “hit rate” is a tad skewed.
In my first year at university I got involved with an older man. He had a face like a badger that had been shot against a brick wall. Sometimes he wore a beard. Sometimes he wore a kilt. Sometimes he wore fishnet stockings and evening gloves. But that’s another story. Before becoming a mature student he had worked as a ranger in the Highlands of Scotland. His best friend was a medium, an electrician, who went around his clients’ houses “releasing” trapped spirits while fixing the wiring. We’ll call my ex-boyfriend, Gordie.
Gordie lived in a fairly new block of student flats bordering on The Meadows region of Edinburgh. In the previous century (the 19th) this had been an old mill. As all mills around that time, conditions were dire and on-the-job fatalities were common. Gordie’s room was at the back of the block, on the ground floor. It was “L”-shaped, where the lower part of the “L” formed the entrance hallway and the longer part was the room itself. The room was messy. Black clothes lay on the floor amidst crumpled, semen-stained underwear. A fug hung in the room. It was male. Shrek meets Hugh Hefner. And in case you’re wondering, yes, at that stage (and for many years afterwards) I had stunningly low standards for the men I slept with!
I had been warned by the spirits to not get involved with him. In my late teens and early twenties, I was a keen bibliomancer, and I was very good at it (not so much these days). I had received information that had predicted the future accurately. I had also engaged with a mischievous spirit who claimed to be my brother, but he was a piss artist. He did however tell me some amazingly precise predictions. Anyway, I was wanting to show off one evening, so I grabbed a book and started “a conversation”. “The book” clearly described Gordie to a “T”, including mentioning the fact that he was sitting right next to me … just so there was no mistake who they meant. I was then told to leave him alone, that he “belonged” to a particular group of spirits and I wasn’t to get involved. I had been sharing this conversation with Gordie. He freaked. I felt embarrassed and played it down but over the next year it did pan out badly for me. However, my relationship mishaps are not relevant or interesting.
So eventually I started staying over at Gordie’s place. We slept on mattresses on the floor. I slept level with the hallway part of the room (also the darkest corner … it was a liminal space, a passing-through space – architecturally it was just awkward). Things were fine at first. Nothing to report here, gov’ner. But then the chills started. Later in life I realised that the main way that I sense spirits is on my skin. It’s a chill, sometimes down my back, or on my arms, or on the crown of my head. The first chills began as I lay there one night trying to sleep. The crown of my head began to chill, until it was very painful. The rest of me was warm so it was unusual. I wondered if there was a draft. I ignored it and eventually fell asleep.
I was young and inexperienced. These days I would know straightaway that something was up. My internal sensor recognises the Strange. My entire body is primed like a taught wire to vibrate in the presence of spirits. But not then. The chills continued at night, and I ignored them. Then during the day, (Gordie was at a lecture) I walked into the room and was rooted to the spot in that liminal hallway. It was like I had expected the room to be empty, and it wasn’t … I was used to seeing the Strange with my forehead and hearing it from the space at the back of my head. I tuned into these other sensory faculties and sent out a big question mark. What are you? I sensed and saw a young woman. She was wearing dark, long 19th century working clothes, with a grubby white apron. She looked miserable, and everything that came from her was resentful and unhappy. Then she was gone.
Next time that the chills came, I knew it was her. I spoke to her in my head, firmly. “Leave me alone. I’m trying to sleep!” I have found that speaking directly and decisively to spirits gets a response. If they are resistant, I remind them that I am alive, and this is the living world, ergo they are a visitor to MY world and I have the stronger presence and power. This works.
But she never went permanently, and I felt disturbed by her unhappiness. I told Gordie about her and he was not as comfortable as I was with her presence. He began to blame all sorts of his own neurotic behaviour and emotions on her. He wanted her gone. He said he was going to contact his medium friend and ask his advice. I said that I could sort it. Gordie went off to find a phone box (that’s right children, no mobile phones back then!) and I sat down and “listened” to what the ghost girl wanted. I wrote it down: a red candle, a piece of yellow cloth, incense (something flowery). Gordie returned. “Right!” he said. “I spoke to my mate and he said we need a yellow scarf, a red candle and some lavender incense.” Well hey-ho. Even I was quite impressed with myself. So I went shopping and while Gordie was out I went to work in the room. I shifted all that funky maleness out and I “worked” for the ghost-girl. And she went.
Not long afterwards, Gordie and I moved out into a basement flat that was part of a large old house, surrounded by a small garden. One fond memory is that Gordie taught me to call Robins to my hand where they would feed on cheese, fluttering over my fingers.
It was a damp and cold basement flat. In fact it was so damp that I found a frog in my bed one day! The heating was old. Basically they were metal boxes attached to the wall with bricks inside. You’d turn the heating on (gas-fired) and the fire would heat up the bricks. It cost a fortune because it was so ineffective, so we did without heating most of the time.
My spider senses had begun to pick up on stuff again in this new place. I kept seeing a cat, or having thoughts about “my cat” even though I didn’t have one. And I saw flashes of a couple in their late 50s/early 60s. They just stood there together and watched. They were not sad like the ghost-girl, nor were they malevolent. They were just curious.
One day I was sitting in the living room, freezing my arse off, trying to study. Then suddenly the chills started up and down my back. I “looked” with my forehead and saw the couple standing behind me. I lost it. “For fuck’s sake! It’s fucking cold enough in this place without you going all woo-woo-wah-wah on my ass. Cut that shit out!” And they stopped. Like I said, if you are firm and clear, the spirits listen. They stayed as a presence in the house, and I remained on “hello” terms with them. Unlike Gordie’s medium friend I don’t find it necessary to “move on” every spirit I encounter. I find that is a busybody attitude and some things are just not my business!
As an aside, the floor above us was an empty flat and yet at night we would hear the sound of a child running back and forth across the floor (our ceiling).
So those were the *human* spirits I encountered in Edinburgh. Stay tuned folks for the spirits of the extinct Scottish volcano and how Gordie was spurned by spirits for his disrespectful attitude; a lesson to us all.
I was going to write a small series of articles teaching you (that is, anyone who cares to know) about how to connect with nature spirits. But I felt very uncomfortable with the “teacher” role and there were too many caveats because each person is different and your clairvoyant strengths may not be mine. I’m good at taking an individual by the hand and introducing them to nature and low magick, but I’m pants at attempting to be one of the many pagan gurus online. My blog, right from the start, was about me and my big mouth, just mouthing off about stuff that was important to me, what I did and do, etc. So, instead of trying to convey a universal truth (a what?!), I’m just going to grab a coffee, sit down and share with ye a little about what I’ve experienced. If you want to know more or have questions, please post them in the comments below.
I’ve had experiences with spirits since I was a child (ghosts, astral travelling, spirit guides, etc.). In my teen years I began to delve into Dianic witchcraft and nature witchcraft. As I meditated more, using visualisation of various symbols from ankh to the all-seeing eye, more things began to open up to me. That is one thing that I would encourage anyone to do: develop a daily meditation practice. I find that my ability to sense spirits grows in proportion to the degree of inner quiet I can sustain. If my mind is chattering about mundane rubbish, I remain distracted very often from the things right under my nose. I remember that as a young child I would sing to chase spirits away that scared me; I would focus so hard on the words and the tune of the song and sing it with every fibre of my being (“She’ll be coming ‘round the mountain” was my favourite). This distraction process created a kind of barrier between me and these parasitic spirits which closed down my “openness” and protected me.
As I worked at little rituals in my room, I also developed a practice of moon-gazing. Late at night I would slip out of the house and walk a couple of miles down an unlit road into the countryside. I clambered over styles, heading off into the fields until I was at the closest, darkest spot, right in the middle of a wheat field. I would crouch there amongst the wheat and gaze at the moon as it crested the hill. On top of the hill was a Bronze Age fort (now a clearing surrounded by Beech trees).
For months I would escape around the full and new moons to sit in the fields and listen. The only things I could really see were the black of black shadows against a black land, and above, the blinding brilliance of the moon. So my other senses took over. I heard small animals bustling around, the sound of cows chomping grass in the neighbouring field, owls screeching and the wind through the trees and grasses. I smelt the earth, a conglomeration of death and decay that smelled pungent and dark. I pressed my fingers into the dirt and stared up.
Then, after a few months, the call came. This call was to be repeated throughout my life at different times, from different landscapes, in all kinds of weather. The land called me. As I sat at home, tired and totally averse to going out, the land called me and all I could think about was being out there! It’s difficult to explain the compulsion that accompanies the call. It’s like the craving that someone gets for a cigarette when they are giving up; it’s the obsession over cake when you’ve given up all carbs; it’s an all-encompassing, physical and mental NEED for a drug, and if you don’t get it, your nerves will implode, your arteries will explode, your mind will shatter.
So I left the house, and ran down the road, off into the darkness and to the field; it was the hill that was calling me, so on I strode, up hill, through fields and orchards, over styles, past streams. It’s about 4 or 5 miles from my family house to the top of the hill. Bear in mind as well, that when the call comes, I could stride through the worst part of town and never be scared. The call overtakes any sense of fear or anxiety. So I walked through the night with absolutely no qualms about being hurt by man or beast.
At the top of the hill (which is shaped like a sleeping lion), on its rump, was the fort clearing surrounded by trees. I had been up to the hill a few times before in the daytime. I went to a jagged tree that was about three times my height but slashed black down the middle – dead, struck by lightning. I shinned my way into the cradle of the tree where it had broken apart and sat there cross-legged looking over the clearing. And that’s when I saw the spirits: black shapes, drifting back and forth, not walking but floating and sometimes flying through the air. When I see them, I see them through my forehead; when I hear them, I hear them with the back of my head. That’s the only way I can explain it. They were aware of me. I was permitted to be there. It is vital to have permission to be in such places at such times. I will tell you further stories about what can happen if you don’t.
These were human spirits (perhaps belonging originally to the Bronze Age fort), but the spirit that had called me was that of the hill. I had focused on it, spoken to it and cultivated a relationship with it in my mind, out of respect, during my moon gazing jaunts. I had opened my palms to it and greeted it – spirit to spirit – and asked permission to dwell there. Sometimes I got a great sense of “No!”; this would be accompanied by a growing feeling of unease and danger. When that happened I would turn around and head home, even if I had only just arrived. Through this method of communication, I had built a relationship of respect and trust with the land and hill spirits.
So, I guess the key aspects that led to my time amongst the Bronze Age fort spirits were meditation (being able to quieten my inner chatter), acknowledging the land spirits (whether you directly feel them or not to start with), trusting your gut (if you feel unnerved, go; if you feel safe and relaxed, stay), being part of the place you wish to communicate with (I knelt on the ground, put my hands in the earth, filled my nostrils with earthy night-air, I absorbed everything around me through my senses). And I did all of this on a regular basis, expecting nothing in return except the joy of being WITH the spirits, sharing that liminal space with them. It never occurred to me at the time to involve those spirits in spellwork. For me it was the only time I felt “normal” and that was enough for me.
Next time: The spirit of Arthur’s Seat in Edinburgh, Scotland, plus a dead mill-working girl, and why I’m generally not fond of the human dead.