REVIEW: Annie Finch's The Poetry Witch: Little Book of Spells

The Poetry Witch: Little Book of Spells by Annie Finch, Wesleyan University Press (2019) $6.95, trade paperback, (64 pages) 4.2” x 0.5” x 6.2”

You may be familiar with the maxim, Good things come in small packages. That saying could well have been created to describe this book, which is small in size but large in scope and beautifully organized.

In an online note to me, Annie Finch mentioned that Little Book of Spells is connected to her much larger and previously published book, Spells: New and Selected Poems, published in 2013 by the same press.

Little Book of Spells will hold interest for many readers, not only for its poetry, but also for its use of fonts and color. The titles of the main sections of the poetry are all set in bold face caps (often abbreviated as “bfc” especially by professional editorial personnel) In this book, these section titles are: East: Casting; North: Wheel of the Year; West: Covening; South: Creating; Center: She Who. Readers who are active or at least familiar with Pagan and Wiccan ritual will recognize that these are the major parts in the ritual circle casting. In the table of contents, the poem titles in these sections are set in very light typeface and, in fact the use of such light type is my major criticism of this book. Not only the names of the poems in the table of contents, but also some sections in the fore matter and the back matter are printed in type several shades lighter than the other sections of the book. The light type is hard-to-read for many people and includes the Acknowledgments section in the back matter, the “Poet’s Note” in the fore matter, and the subtitles in the table of contents (since they are short, however, they–at least for me–do not pose as much of a reading problem as the Acknowledgments and other longer light-printed sections).

Most of the poems themselves are printed in regular dark (but not bold) typefaces, although some, apparently to contrast with the color of the background on which they are printed, are printed in white. In another unusual aspect, the poems in the book are generally only 1-4 lines long. Here are some examples of these short yet usually deep poems:

The first poetry section, whose 2 title pages and 2 of its 5 poems are set in white type on a deep yellow background and titled East, North, West, South, and Center, opens with this poem for “East:”

“Web-weaver spin the air;

Sing dark; sing light; aware”

The 2^nd section, is “Wheel of the Year.” Its title pages and 2 of its 9 poems (8 of which are related to individual Pagan holidays) are set in white on a green background. One of these, “Litha” is an illustrated one-liner:

“Point your fire like a flower.”

Also illustrated and in the same color scheme, the poem for “Yule” reads:

“Vines, leaves, roots of darkness, glowing.

Come with your seasons, your fullness, your end.”

In the the 3^rd section, “Covening,” title pages and 2 of its 5 poems are set in white on a blue background. Its closing poem, “Communion,” reads:

“Now the worshipping savage cathedral our

mouths make will lace

death and its food, in the moment that refracts

this place.”

In the 4^th section, “Creating” title pages and 2 of its 6 poems have white type on orange background. In it, a poem titled “Nightmare” reads:

“Nightmare, oh woman lost in the depths of me,

Lost to the rage that has risen up with me,

Lost till I ride you home – nightmare of me.”

“She Who,” the 5^th and final section, has title pages and 3 of its 9 poems set in white type on deep blue background. All but one of the poems in this section are named for Goddesses. For example, its poem, “Yemaya” reads:

“Star of the ocean, flow wide in us;

Blessings, grow round and abide in us.”

Regarding the length and size of this book─that depends on how you count and measure. Amazon.com considers the book 64 pages long and the measurements in inches at the top of this review are Amazon’s. I count the pages this way: poetry sections, 49 pages; front matter, 7 pages; back matter, 4 pages. (These do not include the blank pages.) My measurements in inches differ only in the depth, which my tape measurer tells me is less than half an inch. However, this may reflect compacting that occurred in shipping.

Ways of counting pages may vary, but of one thing I'm sure: In size, use of color, and text of poems, Annie Finch’s The Poetry Witch: Little Book of Spells will be considered by many readers as one of the most inventive poetry books one can obtain.

REVIEW: Correspondence by Joseph Campbell

 Correspondence, 1927-1987 by Joseph Campbell, edited by Evans Lansing Smith and Dennis Patrick Slattery,  New World Library, 2019, 419 pages.  
 
 This is the latest book in a series of collected works being published by New World Library in cooperation with the Joseph Campbell Foundation. At this writing, there are about 22 books listed in this collection. “Medusa Coils” has reviewed tw0 of these books previously: Goddesses and The Mythic Dimension. Correspondence, as the name implies, focuses not exclusively on Campbell’s other books, but rather on his correspondence with other people—some well known, others lesser known— about his and their work and sometimes about their personal lives, so it, in a way, becomes both  autobiography and biography. It provides an unusually personal view into the community of intelligentsia, both in and out of the university, particularly those who have a great interest in mythology. So I feel it will be of greatest interest to people today with similar interests rather than specifically those interested in Goddess—although like The Mythic Dimension, it includes this subject also.
 
The b&w pictures throughout the book are mostly of Campbell or Campbell and his correspondents. Most of the book’s chapters form a chronology of the development of Campbell’s approaches to mythology. The chapters, along with some of the people with whom Campbell corresponds in each chapter, are:

Chapter 1: “Wanderings— Paris to Pacific Grove, 1927-1939,” Angela Gregory (sculptor), John Steinbeck (novelist), Ed Ricketts (biologist).
Chapter 2: “Decade Mirabilis, The 1940s,” Roger Sherman Loomis (Celtic mythology scholar), Ananda K. Coomaraswamy (museum curator), Henry Morton Robinson (novelist and, with Campbell, author of A Skeleton Key To Finnegan’s Wake), Maud Oakes (artist, ethnologist, and writer specializing in Native American tribes).
Chapter 3: “The Banquet Years, The 1950s,” Margaret Mead (cultural anthropologist and author); Henry Corbin (philosopher, theologian, professor of Islamic Studies); Carl Jung, (founder of analytical psychology and explorer of archetypes); Stanley Edgar Hyman (literary critic and husband of author, Shirley Jackson).
Chapter 4: “The Masks of God, 1959-1968,” Alan Watts (author, philosopher, theologian and for 5 years, an Episcopal priest, who developed an interest in Buddhism, especially Zen, as well as other religions— in addition to their correspondence, Campbell’s 1974 introduction to Watts’ (d. 1973) TV series appears in this chapter.); Mircia Eliade (author and lecturer, especially on spiritual topics); John D. Rockefeller 3^rd (exhibitor at The Asia Society in New York City); Ted R. Spivey (English professor and author with interest in archetypes, dreams and psychic development); Signe Gartrell , aka Lynn Gartrell Levins, (author with interest in dreams and psychic development); Barbara Morgan (photographer and artist best known for her pictures and portrayals of famous dancers); Henry A. Murray, M.D. (psychologist and professor at Harvard University, where he was also director of the university’s, Psychological Clinic) Swami Nikhilananda, speaker originally from India, and founder of the Ramakrishna-Vivekananda Center in New York); Lewis Gannett (author); Larry Glen (reporter with interest in mythology); Joseph Chaiken (theater director, founder of The Open Theater in. New York; Herman Goetz (art historian who writes to Campbell of Hartmut Schmoke’s interpretation of the Song of Songs, “as an Ashtharot ritual dissected and disarranged because it had been too popular to be suppressed by the priests of Jehovah…”[Note: Ashtharot is transliterated elsewhere as Ashtoreth, Ashteret, Asherah and other spellings].
Chapter 5: “Political Matters – Thomas Mann to the Vietnam War, 1939-1970,” differs from other chapters in that it is devoted to a specific topic in multiple years, while the other chapters are devoted to enumerating individuals with whom Campbell corresponded in shorter time periods with specific years and contain multiple topics. The chapter starts with a full-page picture of Campbell from his 1954 passport photo. Among the people corresponding with Campbell discussed in Chapter 5 are (as you might guess from the title) Thomas Mann (novelist) who disagreed with Campbell’s political views although he previously had expressed admiration for Campbell’s work. Among other correspondents in this chapter are Arthur Miller (playwright), and Gary Snyder (environmental activist who combined Buddhist spirituality and nature in his poetry, essays, and lectures).
Chapter 6: “The Mythic Image, The 1970s,” opens with a description of the difference between Campbell’s approach to mythology, and those of other people famous for their approaches to mythology. It also notes in the material from several of Campbell’s correspondents – including that of the Herbert S. Bailey of Princeton University Press, which was, at that time the publisher of the book – Campbell’s receipt in 1977 of an honorary doctorate from Pratt Institute, and includes Campbell’s address to the Pratt Institute graduating class the day he received the award. It also includes 20 of the endorsements from writers and scholars, etc., encouraging Pratt to give Campbell the award. A number of the other notes and letters to and from Campbell and his correspondence relate to the editing and publishing of this book.
Chapter 7: “The Last Decade, The 1980s” includes a discussion that may be of particular interest to readers of this blog: the material published after Campbell’s death in the book, In All Her Names: Explorations of the Feminine in Divinity (HarperSanFrancisco, 1991), which Campbell edited along with Charles Musès, and in which Campbell discusses “the Mystery Number of the Goddess," and refers to Marija Gimbutas’ work. It includes correspondence from Einar Pálsson, a mythologist known mostly for his work related to Iceland. In letters to Campbell, Einar connects the mythology of “Fryr/Freyja” to that of “Osiris/Isis” as well as the relationship of elements (such as fire and water) to shapes and numbers. Also included in this chapter is correspondence between Campbell and Jamake Highwater (journalist and author of more than 30 books of fiction including some for children, art, poetry, and history), and Phil Cousineau (author, lecturer, filmmaker, whose work includes mythology).

The chapters of the book end with a “Coda,” of “Testimonials and Condolences” mostly to Campbell’s wife, Jean, after Joseph’s death from cancer in 1987.

Other information and comments by Campbell and other people about Jean appear throughout the book.

 
The front matter includes: The poem, “Correspondences” by Charles Baudelaire; “About the Collective Works of Joseph Campbell” by the editors; Foreword by Dennis Patrick Slattery, PhD; Introduction by Evans Lansing Smith PhD; Notes on the Text; Overture by Robert Walter.

The back matter includes: An appendix: “The Works of Joseph Campbell, (a list with pictures of 31 books and their relationship to the chapters in this book); “Notes,” (about the front matter and chapters); “Works Cited (alphabetically by author);” “Permission Acknowlegments,” with related page numbers; Index, including indication of subjects that are illustrated; and “About the Joseph Campbell Foundation.”

Yes, this is quite a thorough book and is likely to be especially valuable to students, scholars, and others with interest in Campbell and related subjects

REVIEW: The Holy Wild by Danielle Dulsky

The Holy Wild: A Heathen Bible for the Untamed Woman by Danielle Dulsky, New World Library 2018, Trade Paperback, 292 pages, ISBN 978-1-60868-527-1 (also available as e-book)

In her newest book, Danielle Dulsky writes with a poet’s use of words and a scholar’s structure of material. To give you an idea of the beauty of the writing, with permission of the publisher I will quote here several passages from the author’s Introduction, titled “Her Genesis,” and hope that you will remember that these are only brief glimpses of this beautiful Introduction, which begins:
“In the beginning, there was She.
She was nature’s primordial pulse, the pan-elemental alchemy of birth; the fertile void of death; and the mysterious, enduring, and numinous cosmic infinite. All was She, and She was all. Her power pervaded the totality of existence and veiled all potential worlds in the name of holy manifestation. Her steady, purposeful rhythm pounded on, in, and through the stellar fusions, the planet building, and the great galactic swell. The universal dawn was a quantum prayer to Her, and She was dancing for us long before humanity’s blessed inception, long before the glow of the primal feminine was eclipsed by modernity.
 
“While the rhythm of Her hallowed drum has slowed and quieted to a barely audible, near-whisper beat, while humanity’s spiritual landscape has been overbuilt and hums with man-made hymns, She can never be silenced....

“This book is a five-part ode to Her, to you, and to the yet-to-be-rebuilt bridge between our spirituality and our lived, embodied experience. What you will find here is hearty home-cooked nourishment for the nature-hungry spirit, seasoned with a good deal of feminine ire and served hot. What you will find here is an invitation to descend into the dark with me, to gather up pieces of ourselves we have forgotten, and to rise. The wilds of nature will always be our ancestral home....

“Rise Up, Heathen Priestess: She Lives in the Wilds
....As women of the wild, we deserve our own holy books, our own teaching tales, and our own venerable verses of validation….The her-stories I offer here have merit only in their meeting with your own life; they do not stand alone as immutable truths or a step-by-step path toward any lofty and permanent healing goal, nor do they assert any secret mysteries that I alone am privileged to know....

“The women who have been locked inside the books they called good deserve liberation from their externally imposed immorality. We must unlock the cages in which they have been contained for so long, trapped behind the iron bars of judgment and dismissal…. We share the scars of every woman who has been condemned to ever be spiritually imprisoned, and, in these pages, I offer all the primal feminine technology this Witch has in her toolbox to dismantle the indoctrinated beliefs that continue to limit our spiritual autonomy; divorce our bodies from our spirits; and fence in what is, by nature, untamed, heathen, and wild.

“The roots of the word heathen run far deeper than its derogatory, godless connotation; it is believed to come from the Germanic word meaning “dweller on the heath, one inhabiting uncultivated land.” To be heathen means to belong to the wild, to take our lessons from the natural world, and to be nourished by what we fundamentally are rather than what we are told we must be. Let me distinguish here between Heathenry, a polytheistic neo-Pagan religion for which I have much reverence but to which I do not belong, and the eclectic pre-Christian landscape of our ancestors....

 “Find Her in the Dark:
 The Fertile Shadows of the Feminine Path
Heathen Priestess, your bejeweled crown is the same size as mine. I am neither above nor below you, and the round table of the Holy Wild has no structured hierarchy....

“My story is no more significant than yours, and my hope is that you drink in the poetry, feel nourished by the ceremonies, and complete the myths I begin here while constantly affirming your own authority and your own spiritual agency....

“....Sister, we do not always find Her in the light. Sometimes, we find Her in the dark.
“We find Her in the places that terrify us, and we find Her in the places they told us not to look.

“Walking a Wilder Path: Seeking Out the Fringes
You have many names, my love. In this book, I will call you a Priestess to validate your authority over your own spiritual journey. A Priestess looks within for direction and listens to the whispers, whimpers, and guttural groans of her inner wise woman. A Priestess is an elder. A Priestess is a woman who, regardless of linear age, has done the work and earned the right to say who she is and what she believes....
 
“I will call you a Witch to affirm your birthright as a holy healer, to vindicate those socially rejected women who were hunted — who still are hunted in many parts of the world — in the name of not only patriarchy but also institutionalized racism, classism, and persistent imperialism. I will call you Witch to give a fierce nod to our stolen feminine spirituality and to give your wisdom a real name....

“This path is wild because we cannot possibly predict where it will lead us…. In these pages, I will call this wild path the Red Road, the always-spiraling, unmapped route toward a woman’s spiritual home.”

 

The Introduction goes on to introduce the 5 sections of The Holy Wild, each called a Book and named after the traditional elements of Earth, Water, Fire, Air, and the not-so-familiar to some—Ether. Each book begins with a chapter of “verses,” that is, poetic writing, and continues with chapters about and of rituals and magick. The Books are related to various Goddess imagery and female/feminine archetypes. It is within these sections that Dulsky’s scholarly structuring is most strongly exhibited. Here are some examples:
 
The “Book of Earth” is devoted to “The Wild Feminine Archtype: The Priestess of the Wild Earth. Its “Earth Verses,” section asks readers to “envision yourself encircled by your ancestors as you read.” Dulsky then relates the Earth archetype to the “sovereign maiden,” aspect of the Goddess and specifically to the mythology of Lilith, Persephone-Kore, and Inanna. It also includes comments, several related writings including at least one from the Abrahamic (Abrahamic is a term that refers to Judaism, Christianity, and Islam, that is, religions that can be traced back to the patriarch Abraham) Bible and a suggestions for the reader’s writing and other assignments. The section on Earth Rituals has 7 rituals including those for “the Everyday Warrioress,” “Forbidden Fruit,” and “Self-Initiation.” Earth Magick includes a 4-part “welcoming” working related to Lilith, and also has 4 other workings.
 
The Book of Water is devoted to “The Wild Feminine Archetype: The Maiden of the Unbridled Feminine.” It focuses on the women and goddesses Salome, Freya, and Lalita.  The “Water Verses” section’s 10 parts includes “Revisioning Salome,”and “Our Wild Art and Unbridled Sensuality.” In the ritual section you will find rituals for the solstices and equinoxes, and 5 other rituals, including one of dance involving masks and veils and another with 3 parts. Among the 6 workings in the The Water Magic section are “Crafting the Cosmic Egg,”and “Making Holy Water.”
 
The Books of Fire, Air, and Ether include similar definitions, sections, and workings. The Book of Fire is devoted to the “Prophetess of the Wild Fire” and focuses on the “Dark Goddess,” and more specifically the women and goddesses known as “Mother of Babylon” (Christian Bible), Medusa, Oya, Kali, Brighid, and Hestia. The Book of Air archetype is “Witch of Sacred Love” and/or “Sacred Healer,” which include the women and goddesses Mary Magdalene, Aphrodite, Oshun, and Paravati. The Book of Ether archetype is “The Queen of the Ethereal Divine,” including the Hag or the Crone. It includes the Biblical  Jezebel and the “dark goddesses” Hekate, Baba Yaga, and The Cailleach.”
 
The last chapter of The Holy Wild is named, “Her Revelation.” Its 2^nd paragraph begins: “A woman can certainly bring about the End of Days —the end of the world as we know it….” This relates it to the “Book of Revelation” the last book in the Christian Bible. Yet as in discussions in other parts of the book, Dulsky also departs in her writing from Abrahamic religions and adds other associations, such as “nature-based practices,” contact with Goddess, magick, and other Goddess associations. And the author begins the last section of this book with these words:
“Here in this book I offered you no religion. To be heathen is to predate the spiritual systems that have bound us. To my mind our modern religions have too often, though certainly not always, been a largely male-led dimension of systemized spirituality that is easily spoon-fed to the masses when seasoned with a good deal of fear.”
 
Though some people may object to this book’s combining Goddess Spirituality with material from the Abrahamic Bible, it may open the way to Goddess for others, particularly those just beginning on this path, for whom the book is especially suitable. It will also be an asset for those seeking to combine Goddess with Christianity or Judaism (a practice becoming increasing common) whether they are just starting on the Goddess path or have been on it for some time. In any case, The Holy Wild is terrific teaching tool and is extraordinarily well written.

The book’s back matter includes an Appendix with sources for further study, divided by the 5 Books of The Holy Wild; Acknowledgements; Notes on the material on the various chapters; Additional Resources for  Kali, Lalita, Oshun, and Oya; and a 14-page index.

Danielle Dulsky is author of 2 books related to Goddess Spirituality. She is also an artist, yoga teacher, energy worker, and founder of Living Mandala Yoga teacher training programs. She leads women’s circles, witchcraft workshops, and energy healing trainings and lives in Phoenixville, Pennsylvania. For more information, see her website, DanielleDulsky.com.

Interview With Author Danielle Dulsky

 In preparation for our review of the book which we expect to post tomorrow, we are happy to bring you a slightly excerpted interview with Danielle Dulsky, author of The Holy Wild: A Heathen Bible for the Untamed Woman. The interview is provided by the publisher, New World Library, whose format we edited lightly for blog use.

 
Publisher (abbreviated NWL below):….Can you explain the book’s title?


Danielle Dulsky (abbreviated DD below): I like to the think of the title as a mini-spell of sorts. The words are ordered in a very specific way that is intended to unbind some of the knots that have been tied around nature-based spirituality, women’s stories, and the sacred in general. The word “Heathen” is derived from “dweller on the heath” or those who were living in rural and as-yet un-Christianized areas, so even though the word invokes a visceral response similar to “Witch” or “Pagan,” it simply means living close to nature, close to the “old ways,” and/or in tune with the land and the wilds.

NWL: What do you mean when you use the terms “the wilds” and “untamed”?

DD: When I say “the wilds” and “untamed,” I’m not speaking about being out of control or immature. The wilds are meeting place between nature and our own human psyche. It is a growing landscape that has retained the beauteous balance between sovereignty and interconnectivity, reclaiming the essence of Earth-based traditions. I think all modern spiritual paths that claim a kinship with the natural world — such as Witchcraft, Wicca, and any number of new age spiritualities — could benefit from stripping themselves down from time to time. White neo-pagans in particular, would do well to examine how their practices have evolved with respect to both colonization and capitalism, and to work toward dismantling those systems of oppression to which few contemporary spiritual paths are truly immune. It’s the task of the practitioner to really examine practices and beliefs, dig out what’s not theirs or has been appropriated, and find the connection to nature, which is a deep reverence for the wilds.

NWL: How is the book laid out?

DD: The book is written in five different sections, or chapters — one for each of the elements. Each section is comprised of verses, rituals, and magick. The verses chapters are opportunities for the reader to explore the ways in which the element has manifested in her own story — in her own lived experience — while the rituals and magick chapters are various spells, rituals, and guided meditations for developing a further relationship with that particular element.

NWL: Is this a book only for those who identify as women?

DD: Absolutely not. This book is for anyone who is hungry for the divine feminine, which need not be framed according to deity. Nature is the divine feminine, and Goddess archetypes all over the world reflect this of-the-Earth quality. Because we’re so accustomed to presuming divinity is male, I do use “she/her” pronouns and “woman,” but it’s the suppressed feminine we’re after, not “femaleness.”

NWL: You proudly call yourself a Witch. Can you explain what that means to you?

DD: Being a Witch means very different things to different people. For me, a Witch is anyone, regardless of gender, who both practices Witchcraft and has claimed the name Witch for their own; I say this not to disrespect any lineages or traditions but to validate both solitary practitioners who might have been Witches for decades or longer but never trained as such due to a lack of access, or those hereditary Witches who have no name for their lineage, perhaps, but are certainly no less Witch simply because they don’t have a particular label for what they do….. To my mind, Witches don’t want to conform to those same hierarchical systems that have defined, and indeed confined, religions over the years, so we must retain some resistance to systemic organization. At the same time, we must also support those who are new to the Craft and encourage safe and skilled mentorships that empower the new practitioner.

.…

NWL: What if you live in a city or urban area? Can you still be a Witch?

DD: Of course. I actually address this in the book, so readers living in a variety of urban places can still connect with their nature magick. Firstly, as an urban Witch, you have innumerable resources that a rural Witch might not have, including community and circle. Secondly, nature is everywhere. We can always see the sky, feel the wind on our faces and the ground under our feet.

.…

NWL:A significant part of the book offers the reader a chance to write their own “verses” and stories. Why is this so important?

DD: I’m a huge fan of personal myth-writing as a means of making sense of life’s experiences. When we write and tell our own stories in an intentionally new way, we almost always glean some important piece of knowledge or wisdom we may not have noticed before. When we do this, we find that many of the answers we’re looking for are right there in our own lived experiences, and I think that any truly “holy book” will permit those who read it a chance to become a part of it. This is the “embodied spiritual,” or the practice of feeling, sensing, and naming the sacred with the body rather than merely the mind.

NWL: Who did you write this book for?

DD: This book is for anyone searching for the sacred within their own experiences. You don’t need to consider yourself a woman, a Witch, or even “wild” to read it, though it’s helpful to not be offended by those terms. What you do need to have is a sense of some bit of the sacred within the world around you — within the Holy Wild of your life.

Goddess Pages Format Changes

The Goddess Pages format has changed, Geraldine Charles, editor of the online magazine originating in the UK, has announced. The timing of the publication has also changed:
there is no exact date for a new issue. Similar to a blog, articles, poems, and reviews are published when they are ready and/or when the editor feels they are appropriate. As of this writing, articles include:"The Oracle of Delphi" by Louise Sommer," and the editorial introduction by Geraldine Charles, "She Changes Everything She Touches." Poems include: Calling on Persephone" by Penn Kemp and "The Three Comadres" by Susa Silvermarie. Reviews include: The World Is Your Oracle by Nancy Vedder-Shults, Soul & Shadow: Birthing Motherworld by Kathy Jones, and Healing Through the Goddess by Lynne Sedgmore, illustrated by Susie Jones. 

Review: Medusa Anthology

Re-visioning Medusa: from Monster to Divine Wisdom, a girl god anthology; Glenys Livingstone, Ph.D, Trista Hendren, Pat Daly, editors; preface by Joan Marler; cover art by Arna Baartz; CreateSpace 2017, trade paperback 6” x 9”, 266 pages; also available as an e-book.

If you’ve ever wondered about the mythical persona known as Medusa, this is the book for you. Re-visioning Medusa covers a lot of ground and includes a number of different points of view and interpretations. It is excellently edited to alternate among essays, art, and poetry. Included among the many points of information, for instance, we learn that the animals associated with Medusa and her iconography include snakes, birds, horses, lions, and boars. 

In her Preface, Joan Marler, known for her association with Marija Gimbutas and for founding the Institute of Archaeomythology, explains that this volume contains work by people from “Australia, North America, Europe, Israel and Turkey.” With brief summaries of some of the essays in this book, Marler discusses the history of Medusa mythology in many different cultures, including Southeastern European, Greek, the Balkans, and Renaissance (Christian) Italy, as she writes: “Renaissance artists, inspired by Greek mythological themes, frighteningly realistic portrayals of decapitated women with snakes for hair….emblematic of the Inquisitional murders taking place in Europe during that time…. Later, during the 18th-19th centuries, Romantic artists, poets, and Decadents recast Medusa as a beautiful victim, not a monster….” She goes on to explain the influence of Freudian psychology in the 20th century and urges us to be present in the “here and now,” as we “listen deeply...to the ancient wisdom that is our True Inheritance.”

An introductory note by Editor Trista Hendren, explains why the editors of Revisioning Medusa decided to allow the authors from diverse countries and institutions to use the spelling, punctuation, and other style features that they were used to rather than standardizing such style items in the entire book, as is customary. I think it was a wise, innovative decision to allow this diversity and adds color to the book. In keeping with this style freedom, I am not including degrees (such as Ph.D. and Rev.) with the contributors’ names, although they are included in the book.

I’m going to leave my coverage of the many essays in this book until after I list the poets and artists, and approach the essays in what I hope is an innovative way.

Contributing poets (in order of appearance of their first poem in this anthology) are Barbara Ardinger, Susan Hawthorne, Janet Guastavino, Angela Kunschmann, Penny-Anne Beaudoin, Kerryn Coombs-Valeontis, and Elizabeth Oakes.

In order of appearance of initial art contribution, contributors of art showing various interpretations of Medusa (in black & white—both original and photos of art or sculpture) include: Glenys Livingstone, Cristina Biaggi, Miriam Robbins Dexter (within essay), Sudie Rakusin, Jeanne K. Raines, Lizzie Yee, Caroline Alkonost, Diane Goldie (with descriptive text), Kaalii Cargill (within essay), Luisah Teish (with descriptive text), Alyscia Cunningham, Jack K. Jeansonne (with descriptive text by Marija Krstic), Susan Hawthorne, Arna Baartz, Nuit Moore (with descriptive text and poem), Glenys Livingstone (artist unknown), Kerry Coombs-Valeontis, Marie Summerwood, Meg Dreyer, Pegi Eyers (with descriptive text).

Some of the essays are scholarly, some are more personal in tone, and others have still other stylistic approaches. To demonstrate the views and styles of the many essayists, I will briefly comment upon the essay and quote a short passage from each.

Writing from her personal experience over the years, Glenys Livingstone, in her essay, “Mother Medusa: Regenerative One,” writes of wearing a headpiece that was “characteristic of the ancient primordial Medusa, though I did not know it….Only gradually have I come to identify Her snake coils and bird wings, as an ancient combination representative of Medusa….I realize now that I had been invoking Medusa; calling Her into my being, embodying Her in Seasonal ceremony, embedding Her in regenerative creativity in my life.”

In her essay, “Medusa: Ferocious and Beautiful, Petrifying and Healing: Through the Words of the Ancients,” Miriam Robbins Dexter, one of Livingstone’s sources, presents scholarly material to show that “Medusa is a compilation of Neolithic European, Semitic, and Indo-European mythology and iconography.” She explores the meanings of Medusa’s name as well as her various myths, which she has translated from Greek and Latin texts. She points out the differences in the way Medusa is understood over the centuries, writing, “Whereas the Neolithic Goddess is a powerful arbiter of birth, death, and rebirth, she has been transformed in Greek from a Goddess of the life continuum to this a dead head.”

Jane Meredith’s long, personally-focused essay, “Calling Medusa In,” concludes with an invocation, I excerpt and quote here in part: “Oh, Medusa, I’m calling you in….I invoke you into my own life and the lives of my friends, I invoke you into the houses and families of childhoods everywhere….Bring your qualities Medusa….It is time serpents were released and wildness broke the stone face of what is acceptable and we saw behind the masks….”

In the shortest essay in the book, “To Stand Witness,” Teri Uktena writes that although the Medusa myth has always been a favorite of hers, she was “bothered by the myth from the very beginning because it made no sense.” She goes on to explain why she felt this way and ultimately links it to real life instances in which women have been sexually abused.

In her essay, “Medusa: The Invitation,” Maureen Owen writes, “The story of Medusa is fundamentally the story of the domination of the patriarchal invaders of mainland Greece over the early goddess culture of North Africa….When I hear this story, I hear Medusa’s invitation, urging me to look deeper….” Owen continues by delving into the roles of serpents, and Medusa as high priestess, Goddess, and Queen, and Crone, depending on the time and culture.

In “Till We Have Bodies, “ Kaali Cargill, discusses Medusa mythology as part of her “love affair with myth.” She writes, “She [Medusa] has been known as the Destroyer aspect of the Triple Goddess called Neith in Egypt, Ath-eena or Athene in North Africa. It is through Medusa that mythology offers a hint of what once may have been possible for women in terms of birth control.”

In her essay, “Medusa, Athena, Sophia: the Fierceness of Wisdom Justice,” Bonnie Odione writes: “we cannot look at her face directly, as the patriarchs could not view Yahweh’s.” In exploring Medusa’s relationship to Wisdom goddess(es), she suggests, “a rapid transit from Greek mythology to pre-common era Jewish Alexandria….The Wisdom (Hebrew: Hockmah) tradition that was present throughout the Hebrew Scriptures is Grecianized (Greek: Sophia…) to better reflect Alexandrian culture….” She continues by discussing a quote from the Book of Wisdom, used at Donald Trump’s inauguration.

In her essay, “Medusa, My Mother and Me,” Barbara C. Daughter explores her relationship with her mother and her own self-image in light of various images of Medusa. She writes of conflating Medusa with “a small statue Arthur Evans is said to have unearthed at Knossos Greece: the Minoan Snake Goddess….Who were these snake-wielding women and what could they reveal to me?”

Marie Summerwood begins her essay, “Medusa Goddess: Up Close and Personal,” with a memory from her priestess initiation of “the first time I knowingly met the presence of Medusa….” She had called in other goddesses, including Isis, Quan Yin, Mary, Aphrodite. She had not planned to invoke Medusa, but “the moment when I had planned to speak the name of the next goddess, my hands clenched and unclenched and I found myself fiercely whispering – over and over – the name of Medusa.” She goes on to describe the work she has done through Medusa, and ends with a chant with notated music.

In her essay, “Medusa’s Hall of Mirrors,” Leslene della-Madre writes that as a result of her work with women’s mysteries, “I have felt that helping women to reclaim Medusa by symbolically reattaching her head through ritual is deeply empowering.” She goes on to discuss the ritual for such a working, as well as her research to try to find out why “the origins of myths from cultures around the world that seem to bear similar resemblances, even though contact amongst people living far apart most likely did not occur.” Her explorations take her to what to some may be a startling—and to me fascinating, and innovative— conclusion involving the possible change of “planetary configurations in our solar system.”

In “Ancient Wisdom for Modern Times, “ C. Loran Hills reflects on the effects of various versions of the Medusa myth. In some versions, she notes, “Wild women are condemned as corrupt, depraved, and wicked….unruly, ungovernable, visionary, savage, and ferocious….Strong-willed women are demonized in the patriarchal system and socialized to behave.” To counter this, she urges us to nurture each other and educate ourselves. She also comments that women’s aging is “viewed as repugnant”and “treated like a disease…” and discusses the history of the word, “hag.”

Marguerite Rigoglioso’s essay tells us “How You Can Reattach Medusa’s Head,” with instructions based on a ritual she first performed with a group in 2012 and which has been performed by a number of groups since. Of the ritual’s significance, she writes: “With the enactment of this reparatory ritual, we set in motion the re-memberment of this ancestor, and thus the reversal of her story. With that, we set into motion the reversal of all women’s disempowerment.”

“Medusa: Wisdom of the Crone Moon,” by Theresa Curtis is a dramatic (some may feel at times melodramatic) narrative. At the beginning of this essay Curtis writes, “her tale is long and rich, and constantly growing deeper – it can never truly be known…. For me, She reeks of endless mystery of the secrets beyond the dark moon.” Curtis then goes on to write of Sigmund Freud’s referral to Medusa as “Vagina dentata…exhibiting panic and horror…in the face of her power…. he was never able to complete his treatise on Her.” Curtis then recommends how women can “reflect on Medusa without statuing to stone” through an initiation that involves setting intention, an induction that involves becoming Medusa, and awareness.

Gillian M.E.(dusa) Alban begins her essay, ”Medusa’s Stunning Powers Reflected in Literature,” with this sentence: “The monstrously divine Medusa is emblematic of women’s struggles to rise above oppressions with her serpentine power and invincible gaze.” After reviewing Medusa mythology, among those whose work she delves into are Frieda Kahlo, Toni Morrison, Alice Walker, Robert Graves, Jean Paul Sartre, Margaret Atwood, Sue Monk Kidd, and Angela Carter.

Dawn Glinkski’s “Making Amends with Medusa” focuses on the fixed star, Algol, at 26 degrees of Taurus, which is known as the “demon star” or “Medusa’s head.” This position is of particular interest to me because I have a stellium (several planets) at or near this position. Among the famous people Dawn discusses whose planets are conjunct or near Algol, is Bob Dylan, whose birthday is the same as mine (yes, date and year)—our charts are close in time (taking into consideration time zone difference), differing most in location. Glinkski points out that Dylan has Uranus conjunct (in same degree as) Algol (as do I) and sees this related to his being involved in the civil rights movement (as was I) and rebelling “against the establishment though his music.” (as I have through my writing?) She writes that 3 words she associates with Algol are “protection, preservation, and prevention.” Though this information was unknown to me at the time (about 3 decades ago), I selected a statue of Medusa to place in my office at work for just such purposes. And that is also why I named this blog after Her. Among other people Glinski discusses who have birth charts with relationships to Algol are Oliver Cromwell, John F. Kennedy, and Donald Trump. Glinkski interprets the placement in their charts and also suggests ways to interpret this placement if it appears in your birth chart.

In “Re-visioning Medusa: A Personal Odyssey” Sara Wright tells how, when she was a child, for her a painting conflated her mother with Medusa. She writes, “This image of my mother with her long, curly hair, seemed quite frightening to me. It was as if this painting held a key – but to what?” Continuing, she writes, “as an adolescent, I started to call myself Medusa….self-loathing became the mask I wore. I hated my body.” The essay ultimately tells how, as an adult, she came terms with the fear of her mother by finding out more about Medusa. Near the end of the essay. She ties her “odyssey” in with a current political situation.

Laura Shannon, in her essay “Medusa and Athena: Ancient Allies in Healing Women’s Trauma,” sees these goddesses as helping women, mostly in similar ways, despite their differences in mythology. She cites a number of other authors who have written on the topic of these goddesses and trauma (such as PTSD) including Patricia Monaghan, Sigmund Freud, Joseph Campbell, Carol P. Christ, Marija Gimbutas, Miriam Robbins Dexter, Anne Baring, and Annis Pratt. She sees both Athena and Medusa as protectors and writes: “By placing Medusa’s head in her heart, Athena gives Medusa a post-traumatic sanctuary in a safe and strong body, and Medusa gives Athena a part of her protective powers.” Shannon goes on to discuss the role of circle dancing, both in ancient Athens and in current Greece and the Balkans (and, I would add, in other countries such as the U.S., where I have participated in such dances).She feels these dances help women heal from trauma as well as “affirm and transmit pre-patriarchal values.”

Trista Hendren is another one of the authors who, as she puts it in“Re-stor(y)ing Sanity,”the book’s last essay, was, as a child “terrified of Medusa.” In exploring the reasons why— both as a child and growing into adulthood— she delves into the writings of Margaret Atwood, Mary Oliver, Toni Morrison (particularly Sula), bell hooks, Jane Caputi, Hélène Cixous, Monica Sjöö, Barbara Mor, Andrea Dworkin, Audre Lorde, Mary Daly, and Starhawk. One of the conclusions Hendren reaches is: “Our patriarchal brainwashing thoroughly rinsed out the richness of our being— even the biological realities of our bodies. Everything is supposed to be bleached. Our body hair removed. Our faces, masked. Our glorious womanly smells, perfumed over. Our menses, hidden or erased completely….”

An exceptional anthology, Re-visioning Medusa will be valued not only by people who have studied and worked with Medusa for some time, but also those who haven’t yet wondered about Her. A complete list of the Table of Contents, including title of contribution and contributor’s name, can be found by clicking on the “Look Inside” feature on the book’s page on Amazon.com