a little flock of winged jaskiers ✨
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Kiana Khansmith
Aqua Utopia|海の底で記憶を紡ぐ
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@moss-on-the-keys
a little flock of winged jaskiers ✨
Simone Weil, from “Attention and Will,” in Gravity and Grace (translated by Emma Crawford and Mario von der Ruhr)
So, I feel I have a really good understanding now of some of the Paradoxes like Real and Doesn’t Exist or Exists but is not Real, at least my own versions
My question is, how does one turn an Esoteric understanding of things towards the practice of Magic? Kinda like I feel I understand some Theory but what of Application? I have performed Sigilwork, as well as casting via Intention and symbolic acts.
Does having a more esoteric state of mind/understanding of what you’re doing help the magic more? Or is there some way to *apply* that understanding I’ve not touched upon yet with my practice?
The reason being able to understand and believe both parts and no parts of the paradox is because that's all magic is.
Magic is defined as weaponizing your will and belief into a sharp edge to cut a reality more pleasing to you. It's why self doubt kills the occultist--if you have no control over what you believe, you have no control over what you're casting.
Hmmm, so I’m a little confused, but only a little. I’ve seen a couple asks about gods and deities on here, but I also saw the ask about your personal beliefs on afterlife. So I’m curious, do you believe in actual cosmic beings/animate concepts that existed before us with realms and spheres of influence over the universe, or are you more on the side of human intention giving life to what we know as “gods”
I think human beings are made from billions of tiny organisms that live and and eat and die, billions of tiny little biomachines that consume sunlight and shit chemicals. I think for every cell that makes up your body there are eight foreign cells. I think we are mostly other things, individuals yet inexorable from our environments, like biological factory complexes that gave ourselves names.
I think maybe where we have cells, gods have people and ideas and trees and rocks and tidal patterns. I think also that's not really the point of religion though. I think looking for a physical instantiation of a god misses the point. I think past a certain point it doesn't actually matter how real god is if it effects how people act.
Here’s the horror comic I drew for this year’s 24 hour comic day/48 hour comic weekend, called “The Night-Mother”.
Content warnings: miscarriage, child loss, violence, death, nudity
Not quite sure if your the right person to ask about this but there is a thing I’m looking into and I figure you might know some helpful keywords?
There’s a type of nature religion? Folk tradition? Inherited spirituality? That has been passed down in my family (white midewestern Christian, semi recent farmers) that is notable as a distinct thing and seems to be practiced by others as well and I’ve been trying to learn more about the history and presences of it. From what my parents can recall it’s at least 4 generations old and possibly taught along that matrilineal line?
Traits include reverence for plants and especially trees, as well as wild spaces. All family members consider it very important to have a number of plants in the house and to regularly visit natural places like forests or the beach. There’s a couple rites that we do, such as when a tree is planted or when moving into a new space. Most recent generation has moved to urban areas so not everything is practiced but my grandpa maintains a large area of wild space in rural Nebraska that has paths and connects with neibors property. Wild animals are generally respected and appreciated my family but it feels less related to the nature thing. When I was a kid I was strongly encouraged to engage with nature. We notice and respect areas of good nature, usually old trees and feel very protective over them.
Anyway if you have any useful vocab terms to ask people about their own experiences or knowledge of similar practices I’d appreciate it.
Sounds kinda like Appalachian folk magic? Maybe your family is from the area?
Can confirm this is just pretty stock-standard Appalachian folk magic, if you want some resources to learn about it I can bug a friend of mine who's a scholar of this sorta thing
Update, just got back with a list. Note that he is both a native Appalachian and also an academic professor with related background to this, so I consider this all highly vetted.
Barden, Thomas E. Virginia Folk Legends. Charlottesville: University of Virginia Press, 1991.
Musick, Ruth Ann. Coffin Hollow. Lexington, Kentucky: University Press of Kentucky, 1977.
———. The Telltale Lilac Bush. Lexington, Kentucky: University Press of Kentucky, 1965.
Gainer, Patrick W. Witches, Ghosts and Signs, 2nd ed. Morgantown: West Virginia University Press, 2008.
Milnes, Gerald C. Signs, Cures, and Witchery: German Appalachian Folklore. Knoxville: University of Tennessee Press, 2007.
Price, Charles Edwin. Haints, Witches, and Boogers. Winston-Salem: Blair, 2004.
Roberts, Nancy. Ghosts of the Southern Mountains and Appalachia. Columbia: University of South Carolina Press, 1988.
All Hallows’ Flying Incense 🦇
I invented an incense the other night and am very pleased with it so I thought I would share the complete recipe with proportions. It is based on recipes for flying ointment, so it may give you the tingles. It smells extremely earthy, reminiscent of dried leaves and soil.
3 parts myrrh, ground
1 part mugwort
1 part wormwood
1 part damiana
A pinch of oakmoss
Three drops patchouli oil
Several drops of red wine
Blend the incense together. Perfect for Halloween magic, necromantic rites, flying sessions, and witching in general. Cheers!
Now, this is a good post.
The Posion Path reading list from Sarah Anne Lawless
The Encyclopedia of Psychoactive Plants by Christian Rätsch
The Encyclopedia of Aphrodisiacs by Christian Rätsch and Claudia Müller
Hallucinogens and Shamanism edited by Michael Harner
Herbs & Things by Jeanne Rose
Magical and Ritual Use of Aphrodisiacs by Richard Alan Miller
Magical and Ritual Uses of Herbs by Richard Alan Miller
Pharmako series (three books) by Dale Pendell
Sacred and Herbal Healing Beers by Stephen Harrod Buhner
The Long Trip: a Prehistory of Psychedelia by Paul Devereux
Toads and Toadstools by Adrian Morgan
The Mystic Mandrake by C.J.S. Thompson
Uses and Abuses of Plant Dervied Smoke by Marcello Pennacchio, Lara Jefferson, and Kayri Havens
Veneficium by Daniel Schulke
Witchcraft Medicine: Healing Arts, Shamanic Practices, and Forbidden Plants by Claudia Müller-Ebeling, Christian Rätsch, and Wolf-Dieter Storl
Datura: An Anthology of Esoteric Poesis edited by Ruby Sara
The Poison Diaries by Jane, Duchess of Northumberland
Wicked Plants: The Weed That Killed Lincoln’s Mother and Other Botanical Atrocities by Amy Stewart
*found on Scribd and transcribed for easier reference. I have not read the majority of these books.*
“The “fair folk” were most skilled in music, and when mortals were stolen and taken to their abodes, or beguiled into them, one, of the great enchantments and allurements to stay with them was their music. But that music was not confined to their own dwellings. Often and again has it been heard by human ears in the quiet of the gloamin, or at the still hour of midnight, in the clear moonlight, now on this green hillock, now below this bridge, and now in this calm nook.”
— Walter Gregor, The Folklore of the Northeast of Scotland (1881)
YOU FLASHES YOU LIGHTNING BUGS YOU DRAGONFLY NYMPHS OF WIRES AND AIR THOU ENERGY-SOFT THINGS WAILING CLEAN AND CLEAR INTO A NIGHT FULL OF ONLY YOURSELF A STORM STRIKING ITSELF A SERPENT SPITTING UPON ITS OWN TAIL AND CALLING THE LAND SOVEREIGN YOU ARE NOT SAFE FOR THE WORM IS SLOW BUT IT IS RELENTLESS AND YOU ARE NOT FREE LEAP AND CRAWL EVER HIGHER KNOWING ONLY THE FRIGID AND LOSSLESS AFTERMATH OF PRISTINE DESTITUTION ONE DAY THE GREAT ORDER WILL CATCH YOU BY YOUR ICARUS DRAGGING YOU FROM YOUR SPHERE PINNED BUTTERFLY TWITCHING TO AN ANALOG EARTH RECORDED PRESSED DEEP INTO THE BONES OF THIS PLACE INSCRIBED AND CARVED INTO ITS SHELL LAYER UPON LAYER UNTIL YOU ARE BROKEN OPEN COLD AND STILL AND DEAD AND TERRIBLY TERRIBLY KNOWN
The Witches’ Devil is a folkloric being. It is tempting to say that the he is not the Devil of Christianity, but I think it is important to remember that many historical European witches were at least nominally Christian. If we’re talking about the Early Modern period in Western Europe and its colonies, we are talking about a very Christian time and place. I don’t think it’s correct to assert that Christianity has had no influence on the concept of the folk Devil.
I think it is fair, however, to say that he is not the Devil from Hell. He is not the Biblical adversary. He is not Satan. I’ll go so far as to say that I don’t think he’s Lucifer, though these may all be masks he wears. This kind of viewpoint may be one gateway to understanding him. He is more of a folkloric character, as I have said. What makes him complicated to discuss is that much of the folklore surrounding him is Christian-tinged.
He is called the Old One because he is older than almost anything. In folklore, it has been said that God created the Devil before creating Man. A Biblical argument could be made for this upon reading Genesis and the related apocryphal and pseudopigraphical texts. Here we have a story that is not church-sanctioned exactly, but certainly comes from a Christian worldview.
At the same time, this idea can be viewed through a different lens. He is old in that he is older than Christianity. He is pagan, in a way. This is not to say that he is a pagan deity such as Pan or Cernunnos. Instead, he is a personification of the wildwood and the dark and eerie places in nature. He represents death, destruction, chaos, and that which is forever untamed. Because he is old, he is wise and he knows the ways of magic.
Is he a fairy king? Perhaps. I very much enjoy the theory that the fairies were angels who sat on the fence during the Rebellion in Heaven, and were not so good as to remain in their celestial abode, but were not so wicked as to be thrown into Hell. But this causes a complication. This would mean that the Witches’ Devil was a former angel. That brings him right back around to being Lucifer, but a sort of “Lucifer Lite”, let’s say.
If we cut the fat off that story, if we boil it down to its core elements, we see it explaining that fairies are magical beings who are not vile as demons or blessed like angels. They are complicated and in-between. I think that is very much the essence of the Witches’ Devil. I don’t think it’s proper to say he is an angel or a god (many of the witches of the last several centuries would tell you there is only one God), but I don’t think he is a demon, either.
He exists in this in-between, liminal space. He is difficult to pin down and that is fitting. Words cannot describe him. He is a trickster spirit and sees no need to appear in any one particular guise. He may not be a particular spirit at all, but many spirits that fall within an archetype. Where do you draw the line between a powerful spirit and a god? Where do you draw the line between a single spirit and many spirits, and for that matter, the self? Therein lies a mystery.
When we approach this figure from a practical standpoint, I think it is important to remember that he cannot be completely known. I once heard a psychobiologist postulate that the human brain may have formed in such a way that it cannot fully comprehend the human brain by design. The Devil is much like this. He is the dark and shadowy side of the human experience. He is not mysterious, but is mystery itself. He can be a valuable teacher and ally, though there are others.
Simple spells from Folk Witchcraft by Roger J Horne
Place a candle upside down and recite a memorial prayer to cause the death of an enemy
-The Bathhouse at Midnight An Historical Survey of Magic and Divination in Russia by W.F Ryan
What constitutes a memorial prayer? And like for whom? For the enemy? Is it like pretending like their dead already by giving a preemptive eulogy?
This form of magic is considered by the book to be “parodic inverson” which is where typical blessings, prayers, icons etc are done backwards or inverse in some way to cause ill or opposite effect. (Think turning a picture of the Virgin Mary away towards the wall while you preform a baneful spell)
More specifically this type of mourning curse can be used in many different variations, one known in my family was to light a candle of mourning at the church for someone still alive to cause harm, so you’re right that the idea stems from the fact that you’re sort of acting like the person has already died.
In the context of this book and this passage I believe a catholic memorial prayer with the name of or directed at the person you wish to cause harm to is intended.
Better yet, bring the candle to mass and leave it somewhere no one will touch it. Tell the parish X has fallen terminally ill and you’d like for the parish to pray so their final days are short, and so that they may meet god hastily. Take the candle back home as soon as the service is over and burn it in the same way.
Ointment Information!
Vital information for your everyday life
Basics
When making an ointment, an oil, or anything similar, use glass pans/pots/bowls and a wooden spoon. Despite our beautiful history of cauldron brewing, hot metals can damage the oils in plants.
All homemade ointments start out the same: Use a grease base and dried plant materials. Dried plants are preferred. The ointment-making process draws the oils from the plants and this is harder to do if the plants are fresh.
For a basic ointment (not one that includes poisonous plants), use a ratio of four units of grease to one unit of plants. Note this is a rule of thumb for a scented magical ointment and NOT THE RATIOS FOR FLYING OINTMENTS. I will not be providing nightshade dosing ratios here. Don’t ask.*
You can use lard, vegetable shortening (ie Crisco), beeswax, or petroleum as a base for an ointment. Lard is traditional. Shortening is easier to work with and is vegetarian. Beeswax is also classic and feels more cosmetic than lard or shortening (they’re quite greasy). Petroleum is fucking awful not something I have ever used.
Lard and Shortening
If you plan to use lard or shortening, all you need to do is heat it in a glass pan or double boiler until it melts. Then add the herbs and let it simmer at medium heat until the herbs have given their oils to the ointment. This takes about 10 minutes once the fat has melted and the air will smell strongly of herbs when this is done. Let it cool slightly and pour into a jar.
I like to let my herbs sit in the ointment for a period of time, maybe a lunar month. Then I heat the jar in a crockpot with water, pour through a cheesecloth into a bowl, then back into the jar.
Beeswax
If you are using beeswax, you may use essential oils and add them directly to the melted wax. Remember to use essential oil safety! Melt the beeswax on the stove in a double boiler. When melted, add an equal amount of olive oil or another similar oil to the beeswax. Let this cool a bit (you don’t want to damage the essential oils or have them burn off), then add the essential oils. Put the ointment in a jar and you’re good to go.
If you are using beeswax and want to use dried herbs, you should start with a lard base. Beeswax does not seem to work as well with dried herbs as other forms of grease, but it is cosmetic and easy on the skin.
For this method, melt a quantity of lard on the stove. Pour in the herbs and let it sit as described in the previous section. This should be more concentrated than the 4:1, grease:plant ratio. Strain the herbs from the lard.
Take a quantity of beeswax (preferably unbleached). Add the concentrated lard mixture to the beeswax. The ratio should be 1 ounce beeswax:1 cup of melted lard. Let this all melt in a double boiler. When completely melted, put in a jar.
Preservation
When you are done with your ointment, regardless of its composition, there are a few ways to make it last longer.
Keep it in a cool, dry place obviously. Keeping it in the fridge will make it last longer.
As it is starting to set, you may want to add a few drops of tincture of benzoin. It is a natural antiseptic, can be purchased in many pharmacies, and will slow mold growth.
*if you poison yourself with any of the information provided on here, I am not liable. That’s what you get for getting your information from some dude you don’t know on Tumblr.
How to Say the Lord’s Prayer Backward
On April 30th of this year, I held a special, solitary rite. It was Walpurgis Night and I wanted to call upon the Horned One, as that is his special time. I live in the northernmost part of New England on a large piece of land, far away from the city and even far away from my own neighbors. That evening I ventured into the woods using only a candle lantern. As I walked, I gathered sticks and small branches for a fire. There is a clearing in the woods that holds a century-old apple orchard. The apple trees are twisted, malnourished, and never bear fruit. There I lit a small fire and, when it was hot, I tossed in some herbs. I recited the Lord’s Prayer in reverse, repeatedly.
.nemAHH revEH ‘dNA revEH ROFE eeROALG uth ‘dNA rehWOWP uth modG’NIKE uth sih ‘nITHE rofe livEE morfe suh re-VIHL-led TUHB nuhs-YATE-p-met ootnih ton suh deel ‘dNA suh tsne-GA sapSERT tath meth vigROFE eew sa sesapSERT re-WAH suh vigROFE ‘dNA derb eelyade re-WAH yade sith suh vig nihVEH nih sih tih sa threh noh node eeb lihw eye-th muhk modG’NIKE eye-th mane eye-th eeb d’o-la-H nih-VEH nih rah chiwe re-THAF re-WAH
I felt as though I was being watched by a million ghostly eyes. As I left, a warm wind rustled last autumn’s leaves on the path behind me. I had wonderful dreams that night and that’s all I’ll say about that. I do have to keep quiet about some things.
I love the practice of saying the Lord’s Prayer backward. I first read about it in Paul Huson’s Mastering Witchcraft, where he prescribes it as a sort of initiation ritual. In The Devil’s Dozen by Gemma Gary (which inspired the rite described above), it is used to call forth the Man in Black. Unfortunately, I have found very few versions of the Lord’s Prayer backward that would actually sound like English in reverse. Most versions I have seen simply print the entire thing backward, letter by letter. But that’s not enough. The word “the” backward is eht. But it is not pronounced “ett.” It is pronounced more like “uhth.” So I took the time and wrote the entire thing out backward phonetically, syllable by syllable. It can be used to call forth the Horned One or the Lady of Fate. It is powerful.
The Witch Ball
This is a rewrite of one of my first posts.
One of my favorite ways of warding the home is with a traditional glass witch ball. There are many kinds of witch balls, but here I am referring to the blown glass variety. Many witches will fill an empty Christmas ornament with herbs or nails or something and use it as a spell. Very crafty. But my preferred variety of witch ball is the blown glass sort with threads of glass in the middle.
These were traditionally made by glassblowers as a way of ending their work day. They were historically made from scraps of glass, which is why so many of them are multicolored. They’re simple blown glass balls with threads of glass in the center, made by sticking metal objects (such as knitting needles) in the still-molten glass ball. The witch ball is placed near a window or a door, usually on a cord made of knotted rope or leather. The wise homemaker cleans her witch ball regularly, as this cleans it of dark spirits.
The witch ball may be descended from glass fishing floats, which are often sold in seaside tourist towns as decorative gifts. The first glass witch balls were most likely developed in England in the 17th or 18th Century and were inspired by these glass buoys.
According to popular belief, the witch ball represents the witch who has been tried and hanged. A witch ball will float in water, like a witch thrown in a body of water during a trial. It was believed that witches were rejected by bodies of water because they were too impure. By this logic, witches, like the glass fishing floats of yore, were unable to sink. Glass fishing floats, and later witch balls, were tied up in nets or left to dangle from ropes, not unlike a witch sentenced to die at the gallows. For these reasons, the witch ball serves as a symbolic warning to all witches who dare enter one’s home.
The ball’s inner threads work by means of fascination. Witches and dark spirits are drawn into the ball because they cannot resist playing with its threads. They are entranced (or “fascinated”) by them. They wind themselves through the ball’s threads until the ball is cleaned by its owner. When the owner cleans it and wipes away the dust, she also wipes it free of evil spirits. Many other spirit traps work by a similar principle - the witch bottle, the dream catcher, even a handful of rice thrown toward a malevolent entity - they all work by fascination.
Many older witch balls have a mirror glaze. Some believe the large gazing balls that decorate gardens throughout the country may have their origin in the smaller, more magical witch ball. The mirror glaze is yet another fascinating thing about the witch ball.
No matter their origin or how they work, the witch ball is at the very least a delightful and rustic objet d’art. I find witch balls to be very effective, however. They can last for generations and are, in my opinion, one of the most aesthetic ways to ward a home.
« If you choose to work magic, you become active in the spirit world. This sounds like a no-brainer, but it’s a concept with ramifications that I don’t see mentioned often. (...) As we work in particular types or forms of magic, we become a bit like that which we work with. (...) We gain particular skills or talents through familiarity, through regular exposure. This is the nature of contagion (...). As we experience particular things, they stick to us and shape us. We then in time reflect them back into the world. In other words, if you spend a lot of time with door-keeper spirits, you become in at least a small sense a door-keeper spirit. At least enough to be recognized as such at times. I’ve heard this idea, usually in the negative sense, where people become « tainted » by exposure to some types of spirits or places. But perhaps a better word is « colored ». (...) This is a good reason to both spend time surrounded by the things you would like to be « colored » by, and in cleansing and clearing work to remove those things you’d rather not carry with you. I believe this to be true. While there are many options of « Others » that one can choose to spend time and energy with, it makes sense to me to choose very, very wisely. (...) On a related note, it is important to remember : you are what you do. You come in time to reflect your repeated actions. »
[Aidan Wachter, « At The Crossroads : A Brief Note On Roles », in. Six Ways. Approaches & Entries For Practical Magic]